Capture One 20 Live : Know-how | Work with Capture One Fujifilm like a Pro!

good afternoon everybody uh good morning welcome to today's webinar which is a follow-up from our previous webinar specifically talking about capture one for Fujifilm so we gave you a few tips on ok on the lights not on one second thought why am i sitting in the dark where we gave you a few tips about getting started with capture one and this one is more designed to kind of dig a little bit deeper get into a few more advanced techniques so we're going to dip into some certain aspects of capture one to inspire you two to look a bit further now if you haven't seen the first one doesn't mean that all of this is null and void you can still use it and take it away techniques the original ones on our learning hub learn dot capture 1.com okay so you can always pick it up there but please don't leave if if you feel you can't pick this one up it will be you will be perfectly fine don't you worry ok so today we're going out in our webinar rooms so hello to the people in the webinar room and we're also going out to Facebook and YouTube as well so before we get into looking at capture one just a couple of housekeeping comments so as usual we have the max of 60 minutes so I will definitely keep it within that time period today I always say that and often over run but definitely today we shall keep it within those points we are recording this too so don't worry if you miss any part of it or whatever then you'll be able to pick it up directly on the learning hub tomorrow as well in that same place if you would like to ask questions of course you're very welcome to put your questions and comments either in facebook or youtube I can see them both coming in if you're in the webinar room you can ask a question in the Q&A tab and if you have a specific question it's good to put it in the Q&A tab that just separates it out from the chat and I can see everything else that's coming in from Facebook and YouTube as well now if you want a bit more screen real estate in the webinar room and you can just click on arrow and then it will hide it and you'll have a bit more space okay so let us begin so let's bring up capture one and my cell phone screen like so and let's get started so we've got a few things that we were going to discuss today so we were going to look at color editing in particular because we didn't go into that much on the first webinar also a little bit about color grading which is slightly different color editing where have a little introduction to working with layers because that kind of makes everything more awesome in catch on as well and we have a very very brief and it is going to be extremely brief little look at how to tell your camera's that's just gonna be the first steps what we're going to do in July is actually do another session like this all about tethering where we can go into a lot more detail about the setup about naming conventions file management all kinds of other bits and pieces but for now we'll keep it very simple so I saw a couple of comments on YouTube about tethering with the GFX 100 there is a special thing you need to know about the GFX 100 which I discovered myself so hold that thought and we'd be back with that at the end of the webinar as well but it works great there's just a couple of little oddities there with the GFX 100 okay so we've got a shot up here on-screen and just make sure I'm not obscuring anything and the first thing I said we're going to talk about its color editing because that's a really huge part of capture 1 lots of flexibility and options on how to edit your colors and we can either choose the basic route or the advanced route and then we can also look at skin tone as well because we have a specific tool just for working with skin tones so first of all looking at this shot I'm just going to crop it so we can go in a bit closer I'm going to right click and choose my square crop that's with my crop tool selected so as soon as I adjust it's going to edit down to a square format let's crop in a bit tighter as well so let's zoom in on Roosevelt Island because obviously we've got a nice dominant red color here that is a good example for us to edit and then we can compare that to this shot on a GFX 100 which also has some red in it but we can see the difference quite clearly between how the basic color editor works and how the advanced color editor works so where are those tools if we go to our color tool tab you'll find the color editor down here and it's divided up into three tabs basic advanced and skin tone now the basic I'm sure you can all pretty much figure out how that works but there's a couple of little handy things and nuances that are good to know between basic and advanced so the obvious intuitive way to use this tool is to first pick a swatch so if I go for the Reds for example notice how these bars change so it shows you the action of what's going to happen on those sliders so if I went to a different color tone you can see those bars change so you know what happens when I push either of those sliders left and right now going back to the red again let's just zoom in to 100% so we can see our nice red a cable-car obviously this is really simple either of these sliders if I grab like this that's going to make my red tones darker easy I'm sure you can all understand that same for saturation we could reduce or improve saturation and then you can see by moving the hue slider exactly the net result that's going to have on those red tones so more magenta Tory going to more kind of orange I guess like so so let's reset those so fairly obvious how to pick a swatch and make some edits I don't know if we've got a little bit of a blue sky if you're not sure which color patch to pick then you can do one of two things you can grab the color picker and click on the color tone you want to edit and capture one will give you that suggestion so you should be working off this color tone and then again let's zoom out by selecting my hand tool and if I change lightness then you're going to see your whole sky darken and then we had some saturation like so simple now maybe is somewhat oh no I wouldn't Alexa I'm just gonna turn the lecture off because she's been very rude and interrupted me the past couple of sessions so Alexa is now officially unplugged right as I was saying if you want a faster way to work then what we can do is use this color picker in a direct color editor kind of way so again if we let zoom in and go back to our cable car like so grab our color picker and now instead of clicking once if I tap once it shows me okay this is the color tone that you should edit if I click and hold okay now do that again I'm in between the tea in the eye on Roosevelt Island as if I click and hold you'll briefly see a little four-way cursor pop up like so so what it means now and I'm holding my mouse down or pen if you're using a Wacom what it means now is that if I drag to the left then if you look at the lightness slider then it's also moving to the left if I drag to the right then it's moving the lightness slider to the right like so if I go up and down with my cursor then I'm changing saturation like so so if I wanted to add a bit more saturation and darken this down I could do so now what about we've got three axes here so how would I activate the hue slider so if we right click with our color editor picker chosen then we have the direct color editor settings so I think I've changed this from default slightly you might find the default is slightly different but I personally didn't like the way the defaults was set up so for me I like saturation on vertical lightness on horizontal and hue is an old click and a horizontal drag so if I want to pull the hue around if I hold my Alt key down and click lift and right see now I can change the hue like so so personal preference really however you prefer to manipulate the direct color editor but it's just a really easy way to kind of Whizzer on the image I'm going to click on the blue I want to let's see darken this down a bit or lighting it up so I can just drag with my cursor desaturate add some saturation and so on so it's kind of a speedy way just to move around the photo so for quick simple color editor changes the basic color editor is definitely your friend also the benefit of using the direct color editor so click and hold you'll see if I start dragging left notice that it's picked up two color patches like so so you can see it's chosen two color patches so if we now examine these you can see it's made a combination change between these two so there's an additional sort of level of accuracy for example so basic color editor as I said great for those small quick changes now to change the default of how the color editor works because I think that's what you are asking in the background you see the two little lines down here or we can right click with that chosen so if I do a right click then the direct editor color settings come up now the sensitivity that's how sort of pronounced your mouse moves are so if the sensitivity is very high just a little drag with your mouse or pen has a big impact on the slider and vice versa so again that's something which you can tweak to your own personal preference I think the default about right okay now if we click this box you can see here we can change the color ranges now if you're starting to get interested in this so this is telling me the red swatch here affects this tonal range of the photo and you can see if we turn view selected color range on and off we can see exactly what tones it's going to edit now if you're thinking all this is interesting I'm going to start playing around with those I would say don't you sound like an ideal candidate for the advanced color editor and the main difference is between basic and advanced is that you have much more control over the range of colors that you're gonna have affected so if we turn off user selected color range and we go to our Advanced tab let's scroll down a bit so you can see the whole tool I'm gonna reset the basic advanced sorry basic advanced I'm gonna reset my basic color edits just so we can have a different comparison so when we dig into the advanced color editor we can see nothing is lit up so it's kind of a blank canvas for you guys to work with so it might seem a little bit intimidating at first but don't be it's actually very simple to use and just gives you that extra level of control so then you might ask or why have the basic color editor works great just for quick speedy color edits but if you do find you're in a situation where you need to be a bit more critical than the advanced color editor is your friend so once again if we see our color picker here we then have to go in and choose the color that you want to edit so if we click here like so capture one immediately gives me a suggested color range so the dot that's the color tone I picked so in between the T and an eye of Roosevelt Island that's the exact color tone of that now the hard edge around it that is the range of colors that I'm going to edit now the big difference between basic and advanced whenever we're editing a color in the basic color editor we are affecting the entire saturation range whereas the advance color editor we can choose to effect a broad range of colors a broad range of saturation or a narrow range of saturation and a narrow range of colors and so on so if we turn on we need to scroll down a bit view selected color range let's collapse layers so you can see the whole tool right now we can see exactly which color tones this is going to affect like so so we can see quite clearly obviously we're going to affect the red on the cable car and but we're also just if we zoom in to 200% so you guys can see we're also picking up a little bit of their skin tones and so on so if I squeeze this down like so then we can actually isolate it so it's just the red on the cable car so anything in monochrome is not part of my color selection now we can also choose to have a narrow range so we could go very tight to my picked color or if we zoom out from this shot if there's any sort of foliage or greenery if we went in this direction or maybe more this direction and out this way we'd start to pick up see our trees down here as well so they are now part of this selection so if you need a broad range of color edits you can do so or if you want to be super critical then we can just isolate exactly what we want to have like so so really that is the main difference from the basic tab is that you have the ability to have much more control over what color tones you're gonna isolate now you'll see we've got the three same sliders as before so hue saturation and lightness there's also this additional one at the top called smoothness now what smoothness does is control the roll-off into the neighboring colors so the hard edge on my color editor that's the range of colors we're going to wet it the fuzzy edge that's how it kind of rolls off into the neighboring colors so the default of 20 is generally pretty good you'll see if I put smoothness down to zero notice how now we've got no fuzziness around the outside now if i zoom into like the edge of the cable car and then if we put smooth in this back up then it depends sometimes if we have smoothness very low and I make this supercritical something like that what we start to see is see now we're losing our color selection where the color tone is slightly different if I bring smoothness back up we're now pulling more of that in so it really controls how if you get a nice roll off into neighboring colors as I said generally the smoothness value is pretty good but if you do need to be really critical then that's something that you can do actually if we look at our if we digress and look at our super nerdy color chart if I can find it color tables you'll be able to see what's happening so let's zoom in a touch on let's just go over to this end and the spectrum let's reset what we've done on here before so let's click over here turn on view selected color range that shows me the range of colors we've got selected obviously I can have a broader range I can have a narrower range if I cut this out and I'm going to reduce the lower saturated colors or if I go in this direction I'm going to cut out the higher saturated colors and if I turn smoothness down it becomes a very hard edge selection like so so that's really all there is to it so I would say don't be intimidated by this tool it's super simple to use let's find always our photos there we go now the other benefit of the advanced color editor is that we can have we're not limited to just one color pick let's just reset what I did so if I click on the red so I'll zoom in a bit for you and then we made our edits I want to make that a bit darker don't affect the people inside so I'm going to cut that out and then we're just going to push the hue in that direction a bit and then let's say I wanted to do the sky so we could go up and click on the blue that gives me another entry in the color editor if we zoom out and turn on view selected color range you can exactly what that's going to affect now if I wanted to be sure I was covering all the blue Blues in that color pick and the entire saturation range then I could extend this out and then I could also cut out you can see the difference here as well turn this off and then now I can play around with what I want to do with my sky like so so it's a hugely practical versatile tool up to 30 different color picks now this little action of expanding out the saturation range there's a shortcut for that so if we look down here on this icon then if we click that that automatically says cover the entire saturation range of my chosen color like so okay let's have a look at a couple of questions for those of you lamenting your gfx 100 don't worry we will get to that it's okay just having a look in the webinar room let's see a good question from Carl actually when your color editing in capture one is it Dobby RGB or srgb it's in a constant state of proof I guess so if you look under where is it image I can't remember where it is let's check to do to do to do it because it's something I very rarely look at because it just works so I'm going to make myself look like an idiot idiot here let's see if I type the same whoops wrong shortcut key the proof.proof profile there we go in view thank you help menu ok approved profile so by default it's the currently selected recipe so what does that mean so whatever recipe I have selected capture one will be proofing to that profile so if I went to TIFF like here for example I'm now working in Adobe RGB if I went to this JPEG process recipe I'd be working in srgb so that's an important thing to know it's the selected recipe or you can override it so that's what you need to do come but I wouldn't get overly concerned we too much let's have a look can you publish your HSL table or a similar file I don't have Photoshop to generate one yeah I can do that and I will tag it to the YouTube video so just put that in the description of the YouTube video okay let's just go over to Facebook and YouTube and see what's over there let's take a look okay I see you're helping each other out on YouTube that's very nice thank you for helping each other that's great community spirit what about the sky color only only without affecting the water well we're gonna get to that but sometimes if we pick our color tone again the water is kind of less saturated so if I cut those out then we can just do that for example so you can see there if I pull that up then we're affecting less of the water like so but we could also achieve that with a layer which we're going to get to so that's a good learning moment David who was that we're going to come back to this shot and we can see exactly how to just do the blue sky and isolate something else let's look at our a quick final example here of this guy so if we wanted to edit the reds and this is honored GFX 100 then I would choose my red patch or use the direct color editor and then of course we could tweak those values but as you see as I'm adjusting it's also affecting whatever this type of focus thingy is in the background and there's no real way I can limit that because it's red but it's in a lower saturation range so the simple way around that is in our advanced color editor pick our berries once more turn on view selected color range and if I go in this direction I can pretty much cancel those out without actually affecting my picked color and if I'm worried I'm picking up a bit the crust I could probably move closer in this direction and this direction and have a very isolated color pick so now if I tweet my likeness you can see we really targeted it to just those points so again simple demo but just does show the difference between basic and advanced basic great for quick simple edits advanced if you need to you don't always need to but need to isolate a bit more then the advanced color editor is your best buddy okay the last tab we have in the color editor is for skin tone so let's find our skin tone and really the point of we're going to come back to this this handsome chap when we edit a bit more about layers so let's have a look at this guy here just hide my browser with command B and let's look at this chap now there might already be an edit on this photo there it so I'm gonna reset it so it's back to zero now really the whole sort of point of the additional tab skin tone is for this additional bank of sliders called uniformity nobody has perfectly uniform skin tone of course and nobody has perfectly uniform skin tone over their entire body either and so quite often when you're working with people men women adults children doesn't matter you'll see variations in skin tone and often caused by lighting as well like in this situation we've got this guy he's got a bit of window light coming in and he's got some artificial light on this side so we're going to see a difference in color tone and also on his nose we can see quite a difference in color tone as soon as as the light kind of moves over here then we're actually seeing a change it's it's kind of much colder and so on now to fix that in Photoshop is kind of tricky I actually wouldn't know where to start in capture one it's actually very very simple so the additional of the skin tone tab kind of works in a similar way but really what we're doing is we're telling capture 1 this is my target skin tone and I want everything to match that target skin tone so on this guy's face do we need to do any edits first let's just do a quick I'm just gonna bring up the brightness a bit in the mid-tones let's open up his shadows slightly and the blacks darken a little bit and let's just bring our highlights down slightly okay so now looking at his face we've got that slight variation in color tone there and also when we look at people's hands especially if they're cold they have a much more magenta tone which again if the hand is close to the face often it can be really sort of glaringly obvious okay so workflow for the skin tone tool very simple once again we grab our picker and then we say to capture one what is my target skin tone so I'm going to say over here this is the skin tone I like so I'm going to click there now capture one gives me a suggested color range once more once more so I'm going to just make sure I'm gonna encapsulate every imaginable imaginable skin tone on his face and again I can use view selected color range to see what that's picking up so notice that his face didn't go to monochrome so that's a good selection of his face now we've got the same tools here hue saturation and lightness so if I wanted to darken my selection or lighten it I could do so but these have quite a fine level of adjustment so you'll find even moving the sliders to their maximum it's very subtle because it's designed for skin now the core bit is for uniformity as soon as I start to drag this slider to its maximum what happens is everything in this pick train so everything in that triangle will get transformed to the picked color so watch what happens if we go hue all the way to the right notice that now the skin tone is kind of equalized the cross his entire face now you're going to say that's great but what about his lips because if I go back to zero you don't want his lips matching his skin that would look a bit stupid now if you're lucky you might be able to skinny this down it and just sort of try and cut that out of the color range but generally that becomes a bit of a fiddly lengthy exercise so the best thing to do is to work on a layer which kind of introduces us to the second part of our webinar which is to talk about the versatility of layers so what layers allow you to do is to target your adjustments to a particular spot so going back to David's question earlier about blue sky water in this case we want to do skin not lips so what we want to do is just target a particular area for our adjustment so we're going to reset what we've done here and expand out our layers tool and what the layers tool allows us to do is to create a mask and we can create a mask in lots of different ways like using a brush using a gradient using an auto brush using the color editor to create a mask a whole bunch of different ways but essentially creating a mask of saying I want the edits to only happen here or in David's example just on the sky not the water so what we're going to do for him where I'll show you a simple method we're going to grab a brush in our layers tool we're going to go over onto the photo and right click and we're going to make the brush a bit smaller and a little bit harder and we're going to put flow up to a hundred more on that in a second and we're going to mask basically where we want the edits to happen so I'm just going to sort of do a you know rough mask over the problem areas if you like so that's kind of their spot and it doesn't have to be especially accurate let's just go down here as well because there's a little bit color variation you might spend a bit more time doing this but you don't want to watch me mask a guy for three minutes okay so we've just done a quick clown mask like so just on the skin tone that we want and it okay so that's using the brush icon like so if I made a mistake anywhere it whoops I've gone over then I grabbed my eraser right click just make that a bit bigger and then I could take my arrows away like so so now we've just got a mask on that spot so now what I'm free to do on adjustment layer number one is go back grab my skin tone tool let's press M to hide my mask and kind of repeat the operation once more so I want to choose the target skin tone which is around here now I'm working with a mask I'm gonna be bold and just think well let's just make sure I've got every color range within my mask and then now when I drag up my hue slider for uniformity you see it's making the skintone uniform but it's only in the masked area now you could say hang on a minute that's not super accurate because that's too perfect we can always dial this back to some extent so we can pick a happy medium of somewhere around there saturation will just level out the saturation lightness we'll just flatten all the hard work you've done with your lighting so again that's kind of used with care but it's you know super simple to just achieve that balance so if we turn this adjustment layer off and then back on then you can see the changes that it's making like so so very simple just to make an easy skin tone correction like so okay couple of questions before we move on I'm looking in the Q&A tab so if you've written in the chat in the webinar room I might not see it Pedro is asking the same as either can I get the color table yes we're attach it to the YouTube description of this video can I edit in the Profoto color space you can if it's the ICC profile is on your system it's not installed by capture one by default can you take a mask with the selected colors in the color editor yes you can Miguel and we might have a look at that if there's time but yes you can use the color editor to create that mask which can be super powerful and Xavi that's kind of related to your question as well can you see what the mask is going to create well you can with the view selected color range selection as well so it is possible let's look at see Zed Hills comment on YouTube for color correcting skin with the color cast do use the skin palate or the color palette so we're we're essentially as I said in the demo you are picking the target that you want it to be so let's say look let's zoom out where's our mask is just on his face so if I added a bit more mask over here let's grab our brush and just make this bigger so if I start masking in this area you see how a skin tone changes color because it's now going to match the target on his face as well for example so that's you know one thing to appreciate - the second thing is is if I expand this out I can now make his skin any color I want to by picking this dot up remember everything is being transformed to that pick point so if we went over here you get the idea not suggesting that we do that but that's exactly what's happening everything this color range is getting transformed to that point so if we go back to something more sensible then again you have you know perfect control over the M result of someone's skin tone so that's kind of a bit of a hardcore introduction to layers but as we're on the theme to the color editor then it kind of made sense to tight in with the skin tone tool now it is called the skin tone tool but there's no reason why you can't use it for something else so if you have like a background paper that has some variation or dirt on it then you can use the skin tone tool to even out your background paper or some landscape or C or something like that so it's it's pretty interesting okay so let's go back and pick up on David's example and look at different tool so once again if we go back to our advanced let's reset this and I'm going to leave all the water in and we pick the blue sky and let's just say we had the entire saturation range when I play with lightness you can see it is affecting the water as well because it's got you know a little hint of that color tone in it so we can either try and cut that out which we can do so to some extent but it's also affecting the sky as well and David asked what about if I just want to do the sky so we could do a mask so we could do a quick and dirty mask like this so if we just masked in the sky like so and this is quick and dirty and then we can right-click and say fill mask right click on the layer and say fill and that would just fill in the middle and then now essentially any color edits are only gonna happen on that layer so if we click in the sky again even with the full range and then I'll make that darker or whatever then it's only happening on that spot so sometimes no amount of fiddling of that color range will get you to where you need to be so then adding a layer in as well for extra versatility makes sense what I would do probably David for this show is that I would instead of doing a hand-drawn mask for speed I would grab my gradient mask so that's this second icon drawer at the top I'm gonna hold my shift key down to keep it straight and then I'm gonna hold my Alt key down and make it less symmetric so now if I press M you can see what my fall-off is like so that's going to give me a nice gradual fall off it's faster than brushing by hand and now I can do the same thing pick the blue sky expand out the full range and then now I can make that a little bit darker and a bit more saturated maybe not that much but you get the idea so that's probably how I would approach that photo if we just wanted to target this guy now I wouldn't do it that much because that's a bit over the top but you get the idea so any sort of combination of any tool where the layer just makes it more versatile more powerful more accurate and so on okay just thinking of savvis question about creating a mask from the color editor it's kind of a bit advanced so we're just gonna do it quick so let's go back to Barry's we had our mask here if we turn on view selected color range we get a fairly accurate idea of what that's going to represent now if we click on the three dots in the color editor we can say take that color selection and turn that into a mask so if I say create my layer from the selection mr. G effects 100 so it might take a few more seconds to do and now if I press M on my keyboard that's where my mask is now it can be a bit tricky to seed the mask sometimes which I think it's a V was your question so don't forget you can say display the mask as a grayscale so if I do this then we can see exactly what the mask is so the white areas of what we would see in red normally so whereas before it wasn't necessarily easy to pick up there was a little bit on the edge of the cake here you know a grayscale mask mode display grayscale miles I can see there's a bit here so now I could take my eraser make it look bigger and just go on like a little cleanup mission and just take out that bit like so and there's a little scrappy bit here so now we've just got a mask on those red areas and if i zoom in to 100% and this could be handy if we wanted to just sharpen these up and we could throw a bit of extra sharpening on those guys without affecting anything else so probably a little bit advanced for today he's so but just keep that thought in mind that you can use the color editor also create your masks it's very handy and sometimes a time-saver that the color editor can be your masking - as well how are we doing for time good okay let's have a look at continuing with the layers theme and let's edit oh man here so this is Tommy Freddie not Tommy is there a Tommy no I don't know I got Tommy from this is a Freddie and from Russel Lord he's an ex photographer out in Australia and kindly lent me this photo so let's look at an editing approach with with Freddie so straight out a camera it's pretty good again it's super sharp because it's gfx 100 as you can see so how would I want to edit this now drawing back from what we learned in the first session so the basics I know that if I wanted to just lift the exposure a bit I could and also the mid-tones a bit with brightness and I want to drop my blacks just to make it a bit more contrasty and add some clarity for some mid-tone contrast like so now I want to make him stand out from the background or hide the background a little bit because it's a bit too bright for my liking liking so this is a good case for another mask which is the radial mask so the first one the gradient mask is just like having a gradient filter in front of your lens the radial mask allows us to create complex vignette shapes so if I go over to my shot and start drawing then you can see the radial shape that I'm gonna make so 3 lines if I press M on the keyboard you can see the mask that's going to be created so if I want to feather the mask more I can drag the outer line if I want to rotate it I can hover on the middle line and spin the radio around so I'm going to kick it this way and we can change the shape of it by dragging the handles so I don't want it too hard so I'm gonna go something like that again M we can see the mask so now if I want to drop the background I'm going to pull the brightness down I'm gonna pull the highlights down and maybe the whites a little bit and maybe a touch of exposure to now if I feel I haven't quite got the radio in the right place which I don't think I have I can go back on my shop and then just pull it around until I think it's in a good spot and if it's too hard then I'll just I might pull this in a little bit too now that radial mask I can do any sort of level of adjustment on that so if I think it's making his hair a bit too dark I might just lift up the blacks and the shadows a little bit as well so now if we turn this on and off then we can see the difference that makes good idea to name your layers so you know on earth what's going on so I'm just gonna call this radial vignette like so now his eyes are a little bit on the dark side so I could do with lifting those up a little bit like you saw with the skin tone tool you can do the approach of you know drawing a mask and then playing with adjustments what I sometimes like to do or generally most of the time like to do is to use a different technique which is to first kind of dial in the adjustments and then paint them in where you want them so if I click and hold on plus I can choose to make myself a new field adjustment layer so this would be a layer that's created and immediately filled so it affects the whole shot so if I press M on my keyboard then you can see straight away the mask is covering the whole shot so I want to make his eyes a little bit lighter so I can do that in several different ways I could try exposure but it's not going to lift the darkest area so much so I'm going to do mid-tones with the brightness and then open up the shadows a little bit as well now right now it's affecting the whole shot but I'm sort of looking at just his eyes now that's more than I would probably want to go but I'm I don't want to brighten it more than that so if we turn this layer on and off you can see what it's doing so if we look at just under his eyebrows so if I turn this layer off and on that's probably fine so what I'm going to do now is right click on that layer and say clear mask and what that will do it will get rid of the mask but it will keep those underlying adjustments which I dialed in so now if I say clear mask it's obviously gonna reset to how I want it and now I can brush him back in now with my current brush settings which is this so size and hardness is probably about right let's just zoom in slightly size and harden is probably about right and pass a team flow not right so what happens now if I start brushing how natural does that look not very natural because it's the whole adjustment thrown in in one go so if we look at the mask there we go Xaro so what I want to do is right-click and clear the mask again and then what I want to do is build it up slowly so if I right click and turn the flow down that's going to reduce the rate at which my mask builds up as I draw over the photo now depending whether you're a Wacom or Mouse user doesn't make much difference but if you think if you've got a pencil in hand handy demo pencil the more I draw with a pencil the darker its gonna get so if I'm going back and forward on my notebook for example if I do lots of that then I'm gonna get a dark line for example if I do a light stroke then it's just going to be a light line same principle with reducing flow so now that my flow is you know around five now I can gradually blend and brush so that it brightens up just where I like and then I can stop where I feel it's at the right point the good news is is if I take the opacity down on the layer then we've got a further retrospective edit so that looks pretty good to me so if I turn the adjustment layers on and off then we can see we've just lifted his eye a little bit as well so if we zoom in but you wouldn't really notice that I'd done anything like looking at this shot or looking at this close up you know there's there's no clue that there's a mask that is sitting on his eye because it's nice and soft and blended and so on so if we turn this adjustment layer on it's just opening up his eyes a bit but looks believable the benefit of also using that low flow method is that this mask on the right could be stronger than the one on the left just by brushing more on this side and also if I if I felt I'd gone too far I can grab my eraser also with a low flow and then gradually raise over the top and then that will slowly darkened down until I get to the point that I like as well so you can always go back and forth with your brush and eraser so if we look at our grayscale mask display grayscale you can see how the mask varies as well so it's quite strong here where it's it's brighter and then it has little effect here where it's darker quite strong here where it's brighter little effect here where it's darker so it's much more comprehensive than just splatting a mask in all in one go okay Tom how do you make sure both eyes end up equally I think hopefully that was just the answer to your question so using a low flow of course then you can balance then we can think okay on this side it's probably a little bit too dark so I can give this a few more brush strokes compared to this one and so on so that's really the benefit of the low flow would invert Mars do the same as clear mask it would in this case because the mask was full at a hundred percent but it wouldn't if I had like a 20% mask it would end up being an 80% mask for example so just be careful of the of the terminology so clear will get rid of the mask but it's kept those underlying adjustments invert will do exactly that so if we turn on our grayscale mask and we said invert then we get this like so let's invert that back and we get Pat so it is two completely different operations so in the case that we looked at then yes it would have done the same but it is two different options let's see gl chili OGL cha one of those pick which one was right sorry for not getting it correct can you paint the mask on and off switch with oops sorry it went away like with black conceals white reveals yeah exactly with brush brush and eraser so this is my mask like so so if I'm brushing then with my flow nice and low the mask is gonna get stronger and stronger if I switch to the eraser which you can do with E on your keyboard so if I did e right now I'm now on my eraser nice low flow so now as I start to brush see how it gradually fades away as well it's B for brush now it's gradually building up so if I hide the mask and have B for brush then you see as I brush it's going to slowly lighten very slowly if I hit a raise and then I start to brush it's slowly darkening like so now if you want the effect to build in faster we can just up the flow so let's push it to 75 now you see how much quicker it's happening now if we go to a razor up the flow and brush back and forth you can see how quickly it's happening so it's very much the same thing as the if you like the Photoshop principle of black and white so we're just brushing in a and erasing now again we can also just darken that down a bit now I've really made a mess of the job I did earlier so it's bring the flow down I'm going to cut the highlight on this cheek down a bit and that's pretty good okay so checking time because we've just got a throne a little bit about tethering we've been looking at the color editor and layers but what about the color balance tool which is a different beast entirely but very easy to use and we just continue with this same photo and using layers as well so with the color balance tool different to the color editor in that the color editor tool is designed to pick a color and change the appearance of it whereas the color balance tool is really designed to grade or color tint the whole image so I'm going to start by making a new field adjustment layer so we're going to keep our color grading on its own separate layer let's make this tool a bit bigger so we can see what's going on maybe not that big let's name this one which was eyeballs and then this one is a current field layer which isn't doing anything but we're gonna use our color balance tool with it now this is a really simple tool to learn sixty seconds and you'll be a master at it so essentially it's split up into a master wheel and a shadow mid-tone and highlight wheels and 3-way simply shows shadow mid-tone and highlights all together so going back to the master one this just puts a Cullerton over the entire image so if you wanted to warm this up a bit we would grab the middle point and drag this to the warmer tones the further out I get the greater the saturation so if I went in this direction we'd have teal if I went in this direction we'd be warmer going to orange red purple and so on so that's the first part now that's a great tool for fixing the color cast adding a color tint and so on now 3-way allows you to split out shadows mid-tones and highlights and apply different color tints to those now the fact that we have this on a layer also means that I can add other adjustments into the mix and I can also change the opacity so let's say we wanted to have a more muted color palette for this shot we could go to the saturation and we could take saturation down and then we could throw in in our color palette wise whatever we wanted so his skin is probably going to be in the mid tone so I'm going to warm that up a touch and then the highlights we could do something different but I think I'd leave it alone and then the shadows we could go to Morty or something like that now next to each color wheel is also another slide which changes the density of each of those so if I was to bring those down that would darken the shadows or lift the shadows now it's not the same as shadow recovery getting more detail into it it's basically including the luminance of those individual areas so if we wanted to flatten this off a bit we can lift those up and then pull the highlights down and get like lower contrast effect now the cool thing is that's on a layer so let's just call this color grading because we can turn this on and off to see before and after if I felt that was too much we could bring a pass it down and get all kind of balance to where we feel it suits or of course if we don't like that we could turn this layer off we could build another layer and try different color grading and experiment and so on but it's really nice to be able to split that up but this is a really simple tool to use there's also some presets that you can play around with as well just to get some inspiration as well okay let's see Simon was saying he was struggling with his shortcuts so he went specific Simon but hopefully you're trying edit edit keyboard shortcuts I would make yourself your own set so if you go to the default just click plus and then it will duplicate it and then search for whatever you want so you were mentioning [Music] cue for focus here as well cue for by default takes you to the Healing Brush I think so if we type heal then we've got draw healing mask so then if I want that as cute I could put that in there that's currently used by focus mask and will be reassigned like so so that way we can set up the shortcuts to whatever you want so try that again Simon and try duplicating your default set can we use lots in this process no you know you can't so capture one works around ICC profiles so you can change and muck around the ICC profiles but you can't use lips but on that question one thing I should have mentioned actually if we go to the base characteristics tool you'll see the color profile that we're using which we create in house and under curve you'll also have access to Fujifilm simulations as well so Auto means use the film simulation that was used in camera at the time or you can go through and you can pick any of the other film Sims as well so just be aware that you have that option to switch out to different film simulations to I meant to mention that earlier on but there it is under base characteristics okay couple of questions from YouTube with the radio mast can you use it to adjust inside and outside yes you can so if we go to the back to the radio and choose my radial cursor tool this one here right now if I press M on the keyboard you can see where the mask is now if you right-click you can say draw a mask inside and that will change the default behavior so that means it will always be drawing in on the inside let's make a new layer so if I say keep it as it was before or you can grab the outer circle and snap it over the inner circle like so so as soon as you snap outer over to any you can do so or you can right click and you can say invert as well does does the same thing but yes you can change the default behavior with the right click or snap outer over you know mm could you do a color pop or black and white except for one color yeah you could Clive really just with the example here on this layer you can't use the black and white tool on a layer that's an incompatible tool but to be honest if you then punched a hole in this layer for example so then my color grading would only be on that particular area for example so you can either do it that way let's just fill that was so is oh it doesn't look weird and then just desaturate so yes you could do it that way let's see just looking at a few questions yeah that's just saw someone comment that and again if we don't answer your specific question I am sorry we sort of do our best to try and cater to everyone but we're kind of touching on a few different subjects here so if layers in is interesting to you go back in the learning hub and you'll find lots of content just on layers if color editing is interesting to you go back to the learning hub and then you'll be able to filter by color editing as well so it's very possible to you know find inspiration on all these various different things as well oh that's a good question from Glen actually can you paint out part of the radial vignette like over Freddie shoulder yes you can so two great advantages so if I select my radial cursor tool again it's always dynamic so I can always go back in and then tweak the radial as I wish like so now if I think I'd actually just like to erase a little bit of the radial mask naturally you would think well let's grab the eraser tool and then I'm gonna go over here let's just make my razor brush not quite so hard and I want to erase let's say just a little bit here so as soon as I start to try and do that and says the mass must be rasterized which essentially means lock the radial mask as it is so it will no longer be dynamic and we can edit it so you can either click rasterize or if you know that you're you want to raise something you can right click on the mask and say rasterize like so so now if I say rasterize the mask is as it was but if I was to choose the radial tool you see I can't then retrospectively change it but what it does mean I could then go in and erase and it's kind of if I like I'd drawn the mask myself to be honest so it is it is possible to do that but good relevant question Glen thank you let's have a look now there's plenty of other things that you can also do with masks that we haven't discussed today and I'm just mindful of the time because we're going to do our 60 second tethering bit so again if there's inspiration from any of those subjects just go back in the learning hub and pick them up so the question is does capture one do as good as job as the native cameras software I would say easily and markedly better so but don't take my word for it Daniel just give it a try and see what you think okay so when it comes to tethering now this might be a failed demo because the software that we use for live broadcasting can also connect to the X t2 that I have just sitting behind me so whether it will connect to capture one or not will be interesting I had a quick test before we went live and then they were kind of fighting over the connection so let's see now first of all for their GFX 100 users out there two things to know on the GFX and one thing to know in general so first of all on the GFX 100 boost mode should be turned on so that's under power management I believe in the menu system if boost mode is off I've had issues tethering to my MacBook Pro if you happen to have a MacBook Pro 16 inch then you will find that and I can't remember which side it is but I had GFX 100 in front of me it would connect perfectly happily to a 2018 or 2016 MacBook Pro on either port didn't matter on this map Book Pro which is a the 16 inch it only connects to one side so you've got two USB C ports on either side of the map foot pro I thought they were all created equal but apparently they are not so if you hook up your GFX to the left hand side and nothing happens stick it in the right hand side and then you might find it will magically connect so boost mode on if you're on a map sixteen connect to I think it was the right hand side but just process of elimination fifty-fifty try one side or try the other the third thing is when it comes to tethering is being mindful of USB USB requirements so USB C which is on the GFX 100 the maximum suggested length is 3 meters standard now you might get away with a longer one at 4 meters but the chances are then the connection is not gonna be quite as stable so if you do want to go longer than the USBC standard then you need to look at boosters and so on the other thing that you can also consider is that like the GFX MacBook Pro 16 issue is that the power on your USB port is not strong enough to maintain a stable connection so that's also something to consider as well so let's just kill this catalog for a minute when we shoot tethered it's best to shoot into a session which is an alternative method of file management for capture one and as I said we're going to get into this in much more detail when we do a tethered shoot webinar which will be coming up in July probably towards the end of July it will go up on the learning hub over some time next week and then that will give us an opportunity to get much more into tethered shooting but for now we say file new session and we're just going to call this Fuji film X t2 and we're going to cross our fingers and hope it connects to capture one and not the live broadcast software so I'm going to turn her on plug in the USB helps if you have the USB cable the right way up there we go and lo and behold oh he connected briefly and and I think the live broadcast software took it over oh there we go we're back fingers crossed it stays that way either way as I said it might be a very brief demonstration now with a session I'm going to describe the 30 second this is a we made our ht2 session the general workflow is that you shoot into the capture folder your final exports go to the output folder you can move the best shots to the selects folder and all the crappy stuff goes in the trash that's a very simple session workflow so what I recommend for for you guys and girls out there watching is to do file new session plug in your camera and just shoot and have a play around you'll see in the first tool tab this is where we have all the various different settings related to tethered capture so we can see here that we've got our X t2 lit up with some adjustments available at all for setting up how the shots get named as they come in so by default it uses the name that's shown here and a camera counter the next capture location by default will always go to the capture folder and then we've got a little bit about handling adjustments and really that's all there is to it now if we shoot again fingers crossed if if it's going to behave itself no idea if the exposure correct that's just that little Polaroid camera sitting behind me I seem to have exposure compensation on so let's just put that in you know the direction and shoot again so you can shoot from camera or you can shoot direct from capture one and then in they pop and then you can see in the capture folder the shots just coming in like so it's really as simple and as quick as that now this is an old ich xt 2 but time from captured to shoot is pretty good and I just turned it off and on again because this XT 2 I think is on its way out so let's just do another quick shot so time to shoot to it appearing in capture one is pretty quick as well so as I said my advice to you hook up your camera and just give it a try it's very simple you don't really need to setup anything specific if you have any issues in capture one go to the preferences and then just make sure under the capture tab you've got all you've got fuji film manufacturer ticked if you're using capture one just for Fujifilm then you don't have those options then it only works for Fujifilm but it's a really simple super easy setup and as I said just give it a try for yourselves just be mindful of those USB restrictions on length power out USB port if it's too weedy use a powered USB hub that's a good way around it and then try different cables and all those various other things as well gary was saying is that just the GFX 100 not the 50 I haven't had the issue myself on the GFX 50 as I say it was a curious thing that I saw only on the GFX 100 so that's really my explanation for that so you see if I hit this button here then we also get the shot and the way it works can capture one if I was to make an adjustment like if we tweak that sorry for this poor photography and we take another shot then that adjustment is carried over to the next one so that's really how the default works as well so everything kind of behaves as expected super simple super easy give it a try yourself get a question from Tom on the free version for capture 1 there is a free version capture on Fuji Express or any of these features available so what you've seen today Tom the basic color editor you can use there's no layers workflow that's pro only the basic tools we use last week in the exposure tab and so on are all available but the advanced tools like the advanced color editor the skin tone editor layers shooting tethered are not available in the free version ok last few questions and then I promised I wouldn't overrun it and I lied to everyone again but there we go is it possible to use live view depending on the camera it you can get compatible live view again on our website there's a matrix which will show you yes this camera is supported for tethered can it do live view yes or no now with the mechanical Fugees like the X that we have hooked up in the background some of the adjustments I can't change and capture one so you see aperture is greyed out because of the mechanical dials and some limitations in firmware the gfx 100 you kind of have a fluid interchange between capture one and the camera because of the virtual dials but the GFX 50 then I can't change all the parameters in capture one I can only change them on the camera and that's just a limitation of the mechanical dials and how the GFX is set up good question for from chile does the fuji only version have everything the pro version does but it only works with fuji cameras perfect description so capture one pro works with all camera models manufacturers capture one pro fuji film only works with fuji film cameras but it has all the pro goodies so basically if you only shoot fuji film cameras save yourself some money and buy pro fuji film if you shoot a variety of different camera brands then your best bet is to buy it capture one pro let's see last let's pick two more questions and then we shall finish just looking in the webinar itself and again diana was asking when shooting telly with ext2 i cannot change the camera settings from capture 1 they switch back to whatever is set on the camera unfortunately that is a limitation of the firmware in the XD 2 there's no way we can tell it to override the mechanical dials if you like so that is simply how the xt 2 functions if you want that fluid interchange then you have to buy GFX 100 or ask Fujifilm if they can do something with the firmware [Music] holger was asking I just started to use catch on from Lightroom thank you can I say the characteristics as settings and go from there if needed yeah so the the way it works let's just go back to our other catalog rather than looking at my bad desktop shot so the base characteristics as I said it set on auto it will just pick up the film sim you used in the camera now if you wanted to retrospectively change that you can just pick it up here let's say I wanted pro neg hi and then if I wanted to change that to a you know another shot if I shift select these three shots and they hit copy apply this little button here then I can just say copy the film curve which is this over to those other shots and then now these will also be using Pro neg hi as you can see so yes okay last question is there an upgrade path from the Fujian e-version to the full Pro yes so at any point you can log in to capture 1.com into your profile and you'll see a list of your current licenses and how they can be upgraded so if you've bought into capture on Fuji film but then went and bought another camera product that wasn't Fuji close your ears Fuji employees then yes you could upgrade there is generally always an upgrade path as well and can you share save your shooting in two different places no you can't it will only go to one default place but what I suggest to people is because the session concept is so simple let's say you were shooting to this session as we were doing on the Mac I recommend a piece of software called chrono sync and then you just ask chrono sync to duplicate this session hierarchy so all the time you're shooting chrono sync will just mirror this so if you have any issues for example then you can just restore immediately and that's really simple to do with the session structure because you just point to this folder and say mirror that and then you always have constant backup okay thanks for joining today everybody sorry for over running as I tend to do I hope you found it useful as well if you're not on capture 1 don't forget you can download and take a trial and this was recorded too so the fact that we stream this on youtube if you missed any of it you can just rewind it in a couple of minutes and go straight back to the start if you wish it will be there immediately as well great but take care everybody enjoy the rest of your Wednesday and see you all again soon bye now you

Channel: Capture One Pro

Views: 13,445

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Id: HjGjNxni_9I

Length: 80min 0sec (4800 seconds)

Published: Wed Jun 17 2020