Capture One 20 Live : Talks | Shooting and Editing with the Fujifilm X-T4 with Wayne Johns

good afternoon everybody all good morning or very late evening wherever you're listening from nice international crowd as usual thanks for joining today's webinar and today is about shooting tethered with the Fujifilm XT for an capture one and Hwang John's who were introduced in a second before we get to that a few housekeeping things so we're streaming into our webinar rooms so welcome to those listening in the webinar as well we're also going out to Facebook and we're also going out to YouTube so three at the same time so to those of you on Facebook and YouTube welcome as well there is rather a lot of you so we will try and navigate the questions as best we can but please don't be disappointed if we don't get to your particular question a few other housekeeping things to talk about so the maximum time we run today is around 60 minutes we shall try to keep to that we are recording the webinar if you're watching on Facebook then it just appears immediately on Facebook once it's finished for those of you who are in the webinar room itself if you want to ask a question where discuss that in a second those of you on Facebook and YouTube just put it in the comment and again we do our best to see everything and of course enjoy and chatting with each other as well now if you're in the webinar room the chat tab which you found is the good public place to discuss chat Tekel and talked with each other if you want to ask a question it's best to put it in the specific Q&A tab because then it doesn't get lost in the chat itself as I said for those of you on Facebook and YouTube just pop your question in the comments and we do our best to have a look at those as well now if chatting in questions in the webinar are not interesting or indeed on Facebook and YouTube you can hide all of those as well so let us begin right let's go and find Wayne Wayne you should be on screen now hey how's it going I'm good good thank you good yeah Wayne perhaps before we dive into what we're going to do today Wayne if you could just give us the 30-second intro on who what you are et cetera et cetera what what well awfully people tuned in so they know my name Wayne Johns I'm a fashion beauty and advertising photographer based over here in the UK on top of that my career has spanned about 25 years plus in this industry and I'm lucky enough to be a Fujifilm ex photographer or Fujifilm ambassador if you want to call it that yes and today now as you said your fashion and beauty photographer that's obviously been a little bit difficult to do that over the past few weeks and I remember when we originally planned this quite some months ago we were actually going to do a fashion and beauty shoot yes now obviously you can do that not doing current lockdown times no exactly so as a backup you dragged a family member kicking and screaming into the studio correct yeah I'll do what we needed to do today indeed yeah and it's so far removed from what I normally shoot as well and it's been been a trying situation as well I've pulled in a lovely supermodel daughter of mine um five years old but we we make do with what we have don't we yes and the good news is you did manage to get hold of an XT four so otherwise that would have been slightly challenging if we didn't have one of those and you shot tethered in to capture one and and we've got the full workflow that we can show you as well now because we we couldn't sort of pull off again the idea was that we could be in the same studio we can show you on camera the setup and all that kind of stuff and of yells that wasn't really a sensible thing to do so what we've done is we've shot some oh sorry I shouldn't say we I should say Wayne has shown some pre-roll information for us to watch so we've got three video clips which we're going to roll throughout the webinar so we've got your lighting setup correct yeah we've got your connection settings and we've got some BTS as well of the actual shoe tiny a little bit yeah yeah so they're just like one or one or two minutes if that just to kind of get round the fact that we can't be together which is very good yeah it's not very long they're just little snippets and I want to take up too much time with with those but they are like just just little general coverage areas and this nip sneak preview cool so I'm gonna run the first one which is about the lighting setup now this is also the first time we've ran a clip within a webinar so fingers crossed what's this face yeah indeed so the first one we're gonna roll is the lighting setup and then we're back again in a minute or so okay yep great okay so to give you an idea of my setup I'm gonna be shooting with the XF 35 1.4 lens and also the 56f 1.2 lens just because it's pace we're in not gonna shoot a full portrait I'm going to shoot either half or a three-quarter most now my lighting setup is very simple so my right here or the camera left I've got 150 centimeter umbrella softbox which is white on the inside with a double diffusion layer to give me extra soft light and that's in front of my subject and just feathering across so I don't get the hot spot behind camera I've got a Nocturne 90 umbrella softbox which is just on very low power giving me very gentle feel for the darkest of the shadow areas so I don't lose that in my shot and then behind me you can see another lie on the stand which is giving me a bit of a streak array of light like a bit of a bit of a window streak or sunlight streaking down the background there barn doors on there but I've also got a friend nail lens to head in there as well just to work give give me a bit more light effect and that's it simple as that great we're back Wayne networked perfect so remember the clip myself now trust me so yeah that was just you have the lighting diagram if you remember that's right so you just showed your daughter and the various different bits and pieces as well yeah yeah obviously to let people know I'm in my home studio space for this as well so I'm not in a normal studio so we are restricted on space and things as well exactly and I'll see I'm shooting this is a fine art portrait so a little bit different nicely with a challenging five-year-old but yeah words can you stay still haunt me forever I'm just gonna throw out a question because this is about the xt4 as well so Carl was asking what's the performance of the xt4 like in low light because I haven't tried one yet myself so I know you've had the chance to play with it a little bit so yeah yeah yeah I mean it's it's really not it's really good I mean the xt3 I think was leaps and bounds ahead of xt2 in terms of low-light capabilities and focusing in the speed so if you if you just take the performance the xg3 and put it on some steroids then you're you're going to be up with the xt4 everything's a bit faster in the xt4 I mean every respect really so yeah it does it works well well as well so quick that's good and we're going to talk about connection settings next yes it's got another clip to roll with that as as well now in terms of tethering to capture one you obviously shoot tethered with your what do you have a GFX my shoe XT series and GFX theory so I shoulda medium format a lot as well in Mike in my industry in my career so in my work rather and it's pretty much the same with any fuji camera you have to sort of go through and change this I will make a little correction to that video clip as wells is a bit I forgot to add in there but timing because it does sound a bit wrong when I hear it back right regardless of warm to that one Fuji camera you have the processes is similar now there was a question from parva labelled supporting the x100 air for the x100 V so if you go to captions website you can see which cameras are compatible whether for file support or for tethering support now whether they are supported tethered or not is actually a fuji film decision so whether you know it works or it doesn't work that's that's down to fuji film so if there's a particular camera that you want to work with in capture one then fuji are the guys to lobby as well so we're just we just do as we're told cool so I get a roll the little V T clip about connection settings as well yes okay perfect before we dive into shooting we have to change one setting in the camera for tethered shooting so let's have a little look in the menu we'll just go in and change that now and then the tether will be ready to go in to capture one that's just to tell the camera that we're shooting the images are being tethered and they're being recorded outside of the camera system and not on a memory card that's all so the first we want to do is go into your cameras main menu and then it just scroll all the way down to your spanner and then come across and go down to connections setting once you get into there just scroll all the way down to connection mode and natively it is set to USB card and way it records to your SD card and we just want to change that to either USB tethering auto or USB tethering fixed I'll leave it on auto and that means when you unplug it goes back to recording to your card now one thing you must remember to do after you finished editing is going to the menu and change that back to USB card or your camera will always be looking for a tether connection to save your image to and it won't save to your SD card once you've got that changed over the USB tethering auto we're ready to go into the shoot alrighty we're back way perfect no question timely question from Daniel that was on from Facebook oh we're just covering up our faces with Daniel's coming let's move that what tethering cable is used for connection to a MacBook or a PC yeah I mean I know there's tether tools there probably a brand everybody knows the political person I just find it very expensive and in in past experience not always as reliable as they should be for the price so I go to a different electronics company over here that actually sells the cable that looks very much the same right as a tether tools one but a different color for about 40 pounds less right and that's us beef on the xt xt q SBC yes so just bc now and then i go through another 3 or 5 meter passive extender I've got a long tear the cable just to keep the power in the interconnection got it I use a 4 medium format - yeah I guess with USB see the limitation is around 3 meters or something like that yeah and it's just worth having a passive extender because you know you don't want the power drop to affect a shoot when you're in mid flow especially commercially anyway yeah exactly exactly Oh an unrelated question from guests oh yes what was the studio like software you use to make the lighting diagram that was called set a light 3d yep you can go in and buy a basic version or a pro version and gives you there's attachments and things it's very good actually so if you're new to lighting you can go in and play with different lights and modifiers and move it around and change their power and change your models and their clothing and their positions or their height and backgrounds and props and everything and then you can learn a bit of light before you actually setup the light so to speak very nice what was the question I was gonna ask my wimp link was it about a USB to the clip we can answer that - but you said there was something in the video that you wanted to correct correct yeah just add on - because in the video I said make sure if you're not going to tether shoot that you go back into your camera menu and change that back to SD USB to sd card Roy or for your shooting if you're in USB auto the camera will already know that you're not tethered and will automatically go back to card but if USB fixed it means it's fixed tether connection so if you're going USB fixed and then you unplug the tether and then go and try and shoot with your camera it won't record you in any images to your card unless you change it back to card all right so it's just that little add on to that one atom on YouTube said I'm just going to put up the name satellite 3d that was the one wasn't it yeah so yeah just pop that on screen so people can see it very cool okay so I'm is going to put up on screen the final shots that you created and then we have a look at this now I've got a feeling this might Mutis when I put it up one second nope we're still live so I've got up on screen the two final versions that you ended up with okay yeah so so you've got like a warmer look and a colder look the warmer look is like a typical Baroque style sort of you know warmth and tone but I've actually done this initial shoot and set up with the cooler look to begin with I've just given the warmer look as a variant as an option yeah as an option - okay I'll see those two variants have actually been done in Photoshop as an addition ryeom or the warmer one has been done in Photoshop as an addition to cooler ones been done in capture one yeah cool fantastic alright so the last clip we're going to roll is the BTS so people get an idea of the shot and then we can switch to capture one and show the editing workflow cool nice perfect all right let's roll VT as they say [Laughter] beautiful good go that's it nice straight neck nice and straight popping go ahead chin down attach beautiful and then turn your head to those happen good beautiful in this way a little bit there you go not too much that's happy holidays' hand good and your head that's good good good good girl Stano so straight for me just turn to me a little bit little bit more there you go so I want you to pretend to look at the birdcage but it look a little bit past it this way okay beautiful good [Music] there we go so everyone's got an idea of your BTS setup and very compliant model that was good that was the compliant version your clip I'm complying persons as well I'm sure yeah fantastic okay so I think we've covered this sort of background side of it I'm just gonna check for questions amazing model Linda says absolutely Thank You Linda absolutely yeah looks like she did very well on he heard the set itself same face when I photograph of my daughter dave says come on people asking about the cable link the limit again so I believe for us BC it's it's three meters or that's the the kind of recommended maximum yeah now it's gonna go to beyond that it might work because you can buy four meters four and a half meter cables and so on but just be aware that you then might kind of fall off the cliff of of reliability in that respect I had a risk a funny experience with my MacBook so I've got a map of pro 16 inch it's got four USB ports so two on either side gfx 100 flatly refused to tether on the right hand side so I thought all ports were equal on the MacBook Pro but apparently not so left hand side tethers fine right hand side no bueno but the XT to which I happen to have was fine on all ports so I think if you have any tethering issues check the cable lengths make it shorter to try a different USB port if all else fails then it's probably a duff cable it's very rarely an issue with you know capture one or your your computer yeah yeah yeah oh wait or a powered USB hub that's also yeah another option Oh a question from our Elsie Cuba what was the trigger on the XT 4 is what I what was the trigger on the XT 4 what was the trigger yeah flash trigger I guess oh sorry that is for my Pixar Pro lighting so in the UK cinemas picks a pro but obviously across the rest of the words no docks oh yeah yeah so my lighting setup in these were two docks ad 600 pros or Pixar Pro City 600 pros as are called here and then another 600 head for the background and that is just the the st4 Pro transmitter or they call it something different on Cox got a pro something something you know it's just that one but it's for 3G film cameras so very nice healthy LCD display on that you can just change in you know control all your banks and groups of lights from there very easily with the scroll wheel very nice very very simple user interface great okay I am now gonna switch over to you or capture one screen cool you can see us and capture one which is good now it gets real yep now it gets real yeah now just to explain we we I made Wayne run his screen in a slightly larger resolution just so it's easier to follow if you're on smaller screens or on a lower quality you know stream or whatever so Wayne now has to sit back a little bit to take it all in and of course your workspace and capture one which is customizable you know it's designed for a much bigger display so you know so Wayne will have to open and close things a bit more than he normally would I guess yeah yeah yeah before I drop the resolution it was fine but so now everything you know large I've just ruined your your lovely customized interface for you but I'm sitting about six feet away from my desk like yeah welcome Wow is that actually should we dive into yeah dive into it exactly yeah okay well I'll explain it for people so this first image that you're seeing here because I'll get rid of the IRA meetings down the right-hand side in a moment I'll get rid of thumbnails when we're editing this is the flat image that you're seeing now it will vary depending on the type of monitor you're on as well and the browser you're using I mean I've got a double screen set up here with a BenQ for my retouch and an iMac 27-inch 5k screen to the right and the image the color and the contrast does look different on both of them so you know if it's not quite your liking it will vary on your monitors so just be aware of that on the color and things so this is the flat images this straight out of camera there are no adjustments on this at all you can see my background layer here it's just a single shot I've not done anything on this yet so this is as it came out of the camera as it came out of the camera yeah there you go there's my exposure white balance everything nothing has been changed I didn't even shoot a gray card for this one a color card which I normally do so naughty of me for that one I like to shoot them not everybody does but we're going to we're going to calibrate this one anyway today so you know it may not be that important we're not looking for color consistency oh and then worried about film simulations as well which of course hugely yet popular on me indeed on cameras yeah indeed so the film simulation modes obviously we've got here in a color tab in base characteristics now you can see here straight away it's on auto now for my fashion beauty work I generally shoot because the Fuji phone comes in a standard which is pro via for people that don't know any film simulation mode your standard which is your your your native setting in the camera is Pro via sometimes that's a bit too saturated in the skin tones for me for my fashion and beauty so I like to shoot pro neg s which is a bit more desaturated or pro neg aged which just adds a bit more contrast depending what I'm shooting right and where do people find those in your in your cameras you can just hit your d-pad on your XT fours mm-hmm your d-pad and you go into that or in your cue menu you can go into your quick menu you can go into your film simulation modes and choose which one you want I've not changed anything else in camera you know or a shadow and highlight are all on 0 everything's zeroed on that right so you're seeing that it's on auto here so basically capture one Pro and just to let people know when you tether to capture one Pro it will carry your film simulation mode you have set in your camera straight through to your images in capture one Pro so that's that's a really important point isn't it so whatever you're set on the camera as soon as you take your shot you're gonna show up with film simulation in capture one now if you open the curve drop-down for us yeah then it says Auto so Auto yeah simply means hey capture one use the film simulation that you set in camera but the nice thing is as you're doing if you want to you know pick a different film simulation yep and it's it's totally possible as well perfect and that's the joy of the film simulation modes with with capture one and Fujifilm on the you know when being able to use a me in raw because normally obviously when you're shooting camera they only apply to your JPEG not your Roth exactly and then locked in there babe Medina yeah they're baked in then once they're in they're in but you know you can shoot RAW now and you can come through the capture one and you can ply apply any of your film simulation modes here and just to be clear Sven inside the webinars asking is that with RAW files and yes exactly so these are you know ref files as you've as you said and James was asking the same thing yeah yeah these are these are RAW files so of course you can if you've accidentally picked the wrong film simulation which I've done several times then then it doesn't matter you've got that get-out-of-jail-free card because you can just change film simulation retrospectively and capture one so you get the benefit the film simulation which you know of course we know rather good yeah mixed in with raw edits and the ability to change it post-processing as well yeah yeah that's right that's right so this one is is pretty much pretty much shot in prone a guess I can tell you that by the flat tones in the skin and things now I have shot this quite flat in terms of lighting I've not added lots of contrast purely because I wanted to show you the film simulation modes as you scroll through and if I was to adapt my lighting and add a bit more dunno add a bit more contrast and I seen some of these would would look a bit too awful in all fairness right so that's why I've shot it a bit flatter in its light I just wanted that soft shadow tone that I can play with in post because I kind of know where I'm going with the image for it's for its edit so the same as when you do film you know the flatter you shoot it and more potential you've got for a color great later on dude yes more light in there definitely so the way I'm gonna the way I'm going to work this today for people is I'm gonna I'm gonna add lots of layers you're going to go through different sections cool and we will be working mainly between the color tab and the exposure tab at the top for this I've already done a crop on it just to save the time on that yeah that's a time so before we look at that I just want to clear up a couple of other film simulation questions and one other thing on tethered so Nick is just put this question on screen and kind of summarizes what people are asking which is how does it behave if you shoot to card so it's the same way so if I shoot a card with Pat Cross or whatever then when I bring it in to capture one capture one knows that I've shot with that cross and that you're showing cap Shawn's interface with the air cross film simulation but the curve will say Auto so it's all times whatever you shot in camera if you don't know once you bring it in if you can't remember what you've shock is doesn't tell you when we were in the raw if you just come down over your film sim yeah you know and you hover best idea like this I'm on standard no it's nothing's changing a good tip because that sort of that is telling me that I shot that in pro next standard on it because that's because it is there is a slight sort of deficiency there that it doesn't remind you if you like what what film simulation yeah I'm just going on auto you're in exactly so Nick I hope that answers your question and also in terms of the development of these film simulations this was very much a partnership between us capture one and Fuji for you so we like to think they're pretty close if not almost identical with the obvious you know limitations in mind that they're very close to what you see in camera on the display compared to Larry you see in caption so I don't know if that's your experience Wayne yeah it is very close yeah yeah very very close very very nice to have them nice to have that you know that go to to be able to just apply them to your rules and then and use them as a base model which is what I'm going to do here yeah and the final film simulator or maybe not the final film simulation Jim was asking was does it work on anyone capture but capture one version or you need to have the Fujifilm version so for people who don't know we have capture one Pro which supports all camera models fujifilm Sony Nikon Canon Olympus Pentax etc that has Fuji film simulations and then we also have capture one Pro Fuji film which only supports Fuji film cameras that also has film simulations we also have capture an Express which is free so basic editing or conversion that also has Fuji film simulations so you don't need the special Fuji film version and it works on pro in express as well so yes yep I think that cleared up our film simulation questions let's see and the last thing I just wanted you to show the camera tool tab you can capture one yes it's so obviously again today we couldn't do our lovely in-house next week we had dreams but when your cameras connected then essentially it shows up in that camera tool yeah and a good thing is when you connect the fuji cameras now to capture one Pro it's automatically there straight away in in like a blister at a blistering speed it's the connection now is just so so seamless I know with some manufacturers you still have to go down and choose camera I know I used to have to do that on my old canons because again as a few years ago but some now it just shows all in all your settings show and you can also change some of your parameters and settings from the desktop here if you're you know shooting remotely from your keyboard yeah and what's your experience in time to take in a picture - it visible in capture one the time somebody mister come through yeah oh gosh a second yeah almost instant yeah yeah almost instant yeah I've never counted actually that's a good question yeah it's pretty quick we're quite proud of our cover on what we call it but the the time time to view in capture one from hitting the shutter is is pretty quick especially with the xt focuses on USBC yes data transfer rate as well so when you take a shot you're not like hanging around for ages waiting for it to come through yeah yeah that's it cool all right Syd sorry yeah that I just wanted to clear a couple of those bits and pieces up again something we could have shown if we were in the same studio okay so so we're at the point now where you've shot we're in capture one film simulation employed but everything else is zeroed out correct yes correct yeah now obviously I've done my session normally if I shooting commercially I'd name my folders in a completely different way but I see not relevant for this demonstration today so we can go straight into the Edit on this that's fine okay so let's get into I'm gonna put about just let people know about at 12 or 13 layers have had it on this today some of them would just fine tuning previous layers because I'm changing mind as I go through but it just goes to show you what we can do and hopefully we're going to get somewhere near a final image that we've already shown but yeah it would be nice layers and they're not all massive but some you know some of them we just find adjustments and that's the key and this is just do fine adjustments um so let's add a first I wouldn't normally do this but I'm gonna do it for the purpose of just this webinar so I'm gonna add a new field layer and I'm basically just going to cool that background sorry that's my second layer I'm gonna call that global adjustments now normally I would do that on the background layer but I'm just going to put on here just for ease of use so I'm gonna mess everyone up to begin with and this is a food you g fill xt4 think so I'm going to go from my as I said at the beginning I normally shoot pro no guess of roni gauge and I'm going to go to the new lovely classic neg film simulation mode which is not in the xt3 yet but already you see has given me a lovely warm tone in there and it's also you know just added a bit more contrast in there for me as well so I've got the classic neg for this one okay so I'm going to come back to my exposure tab I am gonna bizarrely go in and cool this a little bit now so I'm gonna come down cool it down a little bit sort of about there that'll do so I've now I've gone a little bit a bit bluer with the scene I'm not going to change too much on the exposure it's a little bit just minor adjustment I might just bring my brightness up a touch you see how small there's increments are you know if I just you know hit the Alt key and hit my reset just that naught point naught three exposure and three on brightness you can see that changing on and off it's very very subtle yes now I'm going to go and play with my dynamic range a little bit obviously I can't have all my tool tabs open on this but here we go so I'm gonna pull my highlights up a little bit I don't know about bad there so just just pulling them up a little bit my highlights just the breimer touch just to brighten a little bit yeah my shadows I'm going to go the other way because I know where I'm going later it does look a bit flatter when when you do this but don't worry we're going to sort that out later okay and then I'm just going to put my whites up a little bit I think just to make them pop a little oh sorry my pen and tablet is very sensitive if you change the sensitivity on this really take my blacks down a touch and you notice because I've got that like feathering off that I'm getting that natural vignette not actually adding a vignette so don't not using a vignette tool the tool today alright so I think that's that's fine for that my heart dynamic range is looking a bit muddy at the moment isn't it on this one but that's fine on my levels I do like to pull the blacks in a little bit from zero again so that's fine I'm just going to pull now I can use my top tab on this now if I put my exposure warning tool in it shows you that my shadows my shadow warning is there but that that'll come back later so don't worry I am in just my RGB and I'm just going to pull the my highlight band about 2:45 it just mutes the palate a little bit yeah that will give you like a more I think yeah mutes the right word like a sort of lower contrast and the upper end of the tonal range yeah yeah indeed and now I'm gonna go into my curve I just want to affect my mid-tones at the moment I just want to balance these mid-tone areas out a little bit here so for that I don't affect the saturation of my color when I'm boosting my mid-tones gonna go to my mid-tones here and I'm gonna go I'm probably about that's very trying to do as fine as they can with this about here so if I just on an on and off that you can see OOP is moving his tab yeah so it's lift it might be tones quite a bit now I'm gonna flip over to my RGB scale Oh quick quick casing point for those yep who who who were not so intimate with capture one so you manipulated a luma curve and they're going RGB so the difference between the two is and you can if you adjust your your your curve in RGB it will also affect the saturation of your senior colors so just be aware of that so if I reduce my mid-tones it's also going to start pulling the color out of my mid-tones so whereas I'm boosting my mid-tones if I now boost my mid-tones in RGB it's it's gonna start applying a saturated color if you have any strong colors within a mid-tone range so just be aware of that increasing any levels in RGB will your curve in RGB will also increase your saturation so your luma Cove is good if you want to affect the cut the tone curve but not affecting your colors or schedule separation it's a pure contrast adjustment leaves the color well yeah so it's very very powerful so I'm going to go here about not too much where I got so sensitive don't just had a helicopter was that you or me I think it's me or the helicopter so I'm gonna come about about here I just pull them down a little bit car is so tricky so there you go I just did a little changes for you so you can see mm-hmm okay so just pulling that down so I think for that that's that's all the adjustments I want to make in that one so this is what you would call your overall adjustments for the whole shot yeah that's my good one I call I always call global adjustments that's where I adjust my contrast my exposure my shadows my highlights might my general now if I'm shooting tethered commercial in a studio I will generally put a bit of a tone curve and things in there to suit my shoot you know before you get started in a shoot and sometimes may even play with the color a little bit if we're not having to be color accurate for an it you know if it's for an editorial or something so and I generally like to shoot that baked in so that the client can get a rough idea of where the color is going and the look of the shoot is going um it's nicer than to see that rather than shooting flag to camera and then just you know making you just miss your post and that's a good point for those if you want to try shooting tethered your Fuji film cameras when you shoot and you make an edit the next shot that comes in by default will carry over those settings so as Wayne says like if you want to bake in a look then you can set that up on your test shot and then as you shoot you know every shot comes in with those new adjustments so it always carries over to the next one yep with that applied so whatever changed now if I now plug my camera and take a shot it's pretty much going to come through come through that is that so your client if you have a client with you or yourself it's just as important then you can see how the the shot is developing is as well yes indeed right so now I'm going to add another field layer okay and I'm going to call that my background layer okay now for this one excuse me I got an itch for this one going into my color tab now what I'm going to here is i'm going to go into my color editor oh gosh take it my screens up here it's all going they will jump around so what I'm gonna do I just want to change the color tone of my background a little bit I want to take it a little bit more down to the sort of the the blue and the teal the aqua blue sort of teal sort of area so what I'm going to do is I'm going to come in here and what you can do is you can pick an area you know it goes and you can see the selected color range that it's got from here okay there we are that's not too bad actually from there so what I'm going to do is I'm just going to shorten its color range it's gonna bring that in a little bit basic what I'm doing with is triangles I'm limiting the color range that it's got that it's affecting in the scene so I'm sort of shortening that that in and you can see here it's got a nice a feathered edge around there as well so it's not going to be a hard stopped color shift around that oh no the posterization yeah no nasty posterization that's it perfect from there so if I take that now now what I do generally with my with my layer is I don't generally work them at 100% when I'm start getting into color and things right so the good thing with layers we can change their opacity so straight off the bat I'm going to drop this down to about 70 ish and then I can always increase the intensity of that effect or the color changing and doing or reduce it a bit more gives you there's an easy retrospective change I guess yes that's right so I'm going to come down to the blue endoscope you see it's not changing in a minute of the saturation as well but I'm going to pull my hue down probably to about here and then my saturation I'm going to increase my saturation now in this oh not too much probably around here you see it's shifting ever so slightly here and then I want to keep that a little bit darker in in terms of its tone so I'm going to take the lightness of this shift probably down about here okay so there you go so that is my before and laughter so you can see I've now changed the color tone of my background a little bit giving it a bit of a hue a nice noise isolation hasn't changed anything in your subject as well yes luckily my subject is not wearing anything in the same color that's that's a relief in that respect yeah a little question from from Lee and I think Leif Orland in the webinar and I think a few other people will probably use the same thing as well about layers and capture one and how they compare two to Photoshop I guess it's a it's a similar principle except it is it is a similar principle I think main difference is you'd like in Photoshop normally you would have them in a particular order layer upon layer yes you know you would put them in in a stack order yeah in capture more Pro you don't have to worry about that so that's been cool and was working on the raw data so you've got all that flexibility of the raw filers as well yeah but it's essentially a similar principle you you draw a mask or you create a mask with a gradient filter or a radial filter or a luminosity mask or a whole bunch of other ways that we don't have time to get into today but that's essentially create a mask and then edits on that mask only happen on that layer but the benefit of what you're doing with the field layer which is like a mask over the you know the the whole shot is that you can separate your edits out into different layers change the opacity as you've done waned and seventy percent so Wayne can retrospectively give it less or give it more yeah in the lead post-production fiddling stage or whatever but that's that's generally it's similar it's similar but different if you like there's some more powerful things that capture on with layers and there's some more powerful things in Photoshop with layers so it's it's different because we're working on the raw data as well so sorry little it is no that's fine it is different but it's nice to have a raw editor that has so much power in it to do that you only used to be able to do in something like Photoshop zactly because really the domain of the raw converter was to make it raw into something which would then go into Photoshop but now we do a lot more than we could do in the past yeah yeah it's also men's speed of it as well is awesomely quick which is really really nice so that's the good thing and a good thing is you know if you're shooting something that's a static subject and you've got seven or eight shots like that then you can pretty much copy though you know copy those those presets over to the next image you can do a copy and paste it will ask resets which is cool I'll see if you've got somebody that's moving and you're doing any masking on skin and now see that's not gonna work you know do it change change anyway sorry for that interruption so that's fine is fine so that's all I want to do the background so now I'm gonna start just changing my skin a little bit because if you look at the areas I mean my daughter's only five years old you know she's not getting Sun tans and things so we have a color difference and saturation and tone difference in our skin layers so let's try and balance those out a little bit so for this one I'm going to go to a new filter layer so y'all just work on the the chest area first it's gonna call that one chest okay so I'm gonna go in here and I'm going to use the luma range tool which is all let me show the mask first I forgot to do that so to show you a mask just hit your M key that shows me that it's a filled layer with a full mask okay and now I'm going to go into my luma range now I only want to affect this area here so I don't want to be affecting any shadows and not really too much of the mid-tones so I'm going to pull my shadows up here I'm gonna pull them all the way up and richly right to the end almost mm-hmm there and what I'm gonna do is I'm just going to feather that selection off a little bit so it's not so hard on the edge okay somewhere around around there okay I'm gonna pull my highlights in a little bit so don't affect any everything so that's so I'm gonna put about 255 to feather off a little bit I'm gonna change my radius a smidge nothing major okay so that's my that's my mask so that's showing me this area now what I can do is softly picked up some other areas within that luma wrasse luma masks range which I don't want forgot teeth in for that one so what I'm going to do is I'm just going to go to my eraser tool which is e on your keyboard use a square bracket keys to change its size if you hit ctrl on your keyboard you can change its hardness opacity in everything else so let me just change the flow to 100% and all I'm going to do is get rid of the areas I don't want to be affected which I don't want a bird K to be affecting just gonna brush those out I don't really want the face to be affected let's just punch it on this a little bit don't really want my face to be affected now my center circle is my main zone and obviously that's my feather on the outside and so just reduce that a touch just gonna come in here get rid of it in the hair so essentially this is just a good speedy way to draw masks which would be a bit tricky to do by hand so that yes the luma mask really just puts a constraint on the field mask that Wayne made earlier and then you can decide do I want highlights do I want mid-tones don't want shadows that's right and then after that case once the luma range has put that constraint on your field mask if there's any areas that you don't want then you can just quickly zap them with the eraser yep because Wayne is doing as well there we go right so I'm just going to do that there so now I'm going to go to my skintone tab let's just turn the mask off there a section yes in a second so that's my Millea I'm I'm going to keep that on at 100% on this one what I'm going to do is going to go to my skin tone and I'm going to pick an area that I would like it to balance out to so let's just pick Mary up out there it's pretty good actually pretty good okay so from there so what I'm gonna do now is I'm going to go down to my uniformity tool which is going to even those two homes out and try and match it to the point source that I selected so I'm really going to ramp this up because it is a very fine adjustment especially on this type of skin tone yeah about there I'm gonna put my saturation up that changes the amount you probably were able to see this nice as oome in a bit actually yeah this is the skin tone the color editor is like a finely nuanced if you like very fine adjusting skin so what uniformity does is if you like in that the triangle that you see that when selected anything in that space will be or anything in that triangle will be if you like compressed or converted or normalized or equalized to the picked point so far if I've got like a super red cheek or something if I pick my the skin tone below my cheek then essentially manage that balance that out so if you've got models with cold hands or whatever or uneven some tans or hot cold etc then you can yeah balance it out easily yeah and we're going to do that because we're going to do the hands and the face separately so we people can see there because of see the hands and the forearms are a lot richer in in in warm tone yeah then in the chest area so we're going to try and balance those out a little bit so this is very fine if I click my before and after just look at the chest area only not the rest of the picture because that's all see the only piece we've affected you can see how just re got that color down and a little bit very very fine mm-hmm so once I've got that layer there in the color tab I'm going to go over to the the exposure tab I'm going to make a couple more adjustments in here and it will only be to that area let's get rid of our white balance let's get our exposure up now I'm going to pull my brightness down a little bit in that area see it change ever so slightly and I'm going to increase my saturation a little bit oh he says so about there too much good perfect perfect okay yeah it's so sensitive in there when you change that screen resolution so what I want to do now is I just want to go into my highlight tool and I'm just going to bring the highlight of that area down a little bit as well probably around here I think would be good enough unless that out so if I turn if I turn that whole layer on ya can see it in its entirety now it's really just brought that color tone ya own skin tone down alright okay so that's what we're gonna do for that one right which will be nice and easy so let's go on as we're still on skin let's go and tackle the hands okay on here now it's just bring the image back out it add another field layer on here I definitely know when we're working with someone who's used Photoshop and impulse because everything they do in layers which is not a bad thing because it gives you that flexibility afterwards as well yeah that's right yeah and a good thing is when you look at your layers it tells you that you've got a loom adjustment also tells you here you've got an exposure adjustment so it tells you you've got a different tab adjustment in here that's pretty cool so for for the hands now let's do this a different way let's go in actually I did that as a field low didn't I yes I did I want to want to do as a invert mask yeah clear in all clear right so I'm going to brush in my layer this time so I'm gonna hit my brush tool same as always increase my brush size again we can change its flow and opacity here I'm going to keep the flow pretty much a hundred percent my pen pressure is turned on as you can see if you use a pen and a brush and I like to link my brush and eraser settings up which means that my brush tool and eraser tool are the same size when I switch between them so let's just bring this up I'm just gonna do the arms on this this will be quite quick due to time constraints so basically we've got 10 minutes in theory I'm sure yeah so I'm just gonna brush very quickly around here obviously we would do this a bit more accurate normally oops I'm gonna do that I hit my button on my pen yeah while you're doing that Wayne you relax and draw I was going to answer a question from it was was it Eddie yeah Eddie who's in the webinar room was asking what does radius doing the luma range so while you're brushing I will briefly yet try to explore second David just to let people just let people know quickly on this before you get into that yeah so if you go and right click on your layer you can then go into film ask well yeah there we go oh it wasn't joined up there you go but it will fill the rest good I'm asking for you yeah okay yeah so Eddie was asking what is radius do so so as you saw Wayne adjusting luma range you decide on highlights mid-tones shadows or broad range narrow range that's that's you know fairly straightforward what radius and sensitivity does is control how the edges wrap around like the edge of the mosque okay you can watch some of our previous webinars and quick lives which goes into it in a bit more detail but essentially with radius at zero the mask can be sort of relatively crude it has somewhat of a harder fall-off as you increase the radius that first of all decides how much of the edge catch one wants to examine is it just a very finite edge or how far out from the edge do we want to go and then below that the sensitivity slider all the way to the left it will feather the mask so it will make it very soft which is sometimes good for applications like this all the way to the right it will like wrap around the edge of something so if you've luma masked around a tree or something like that it will literally hug every leaf and branch and tweak that you can see where as all the way to zero it will be very soft anywhere in between is like a kind of combination of the two so find a photo with a broad range of tones put a field mask on it apply a luma range and just have a play around then you can really see what it does so I assume you've drawn your mask by now way I have drawn my mask oh there it is for people to see yeah it is a very quick mask I wouldn't worry do it the thing is it's a skin tone so it's not necessarily spilling over into the background or her dress or that's correct I've not got any similar colors in there so I'm already going through my uniformity tool to try and balance that out now a little bit okay and then I'm just gonna put a bit like this in there but they're roughly so I can see there before and after one week just come out of that remember I am event making very subtle differences you see how that redness has gone from the forearms okay just coming in there so now that I'm on that I'm going to come back over to the exposure tool tab okay I'm just gonna take this down a little bit the color balance there we go just think that down about 3,600 degrees Kelvin just to change that and let's take my contrast down a little bit because I don't want the shadows to be too hard they're like saturation down a touch he says if he can control his pen and tablet so my higher dynamic range is going to pull those highlights down a little bit on there looking between my two screens and I go pull my shadows a little touch on there about there and that's it that's all I'm going to do an exposure tap so now if I turn that layer on and off you can see I've softened my shadows a little bit better yeah yeah the colors probably gone a little bit off on the selection now because I can't get us find numbers my pen and this speed normally I wouldn't work this quick pressure isn't it pressure pressure right brilliant right so now we're going to go an overall a new layer we're gonna go a actually it's got an empty layer on this you could do you could do this with the luma mask but I'm gonna do a little cheat here so I'm gonna cool this skin okay I'm gonna drop this down to about 70% here because I don't want a full strength of it now the good thing is I can cheat I want to do a mask now on all the skin area again as a whole to the face the neck at the arms and the hands instead of painting it all in again if I hit my control on my mask I can copy my mask from my hands so basically means that I have them already in place and I don't have to paint them again well now I can just grab my brush tool and add to that and selection to that nice good add a bit to that I was right bit on the layer copy mask yes correct yep and let's do this quickly so remember our month seven has a bit rough them when there's no more tidy that up in a second like you David I've heard you say before sometimes it's easier to paint your mask and erase back you must expect the bits you yeah yeah now remember I don't want my eyes or lips involved in this I just want my skin tone just my brush size a little bit okay so just gonna make a very quick selection here and I can refine this mask those what a copy mask technique is quite handy if you want the inverse of something like if you've masked something the foreground and you're on the background you can just copy that and invert it to save you the job yes yeah yeah a big time-saver big time okay yeah just big time I think it's just a brilliant way for the tool to work yeah okay so very quickly done that in there like that okay we on a flower setting of no go brilliant so let's get rid of that mask now I'm gonna go back to my color tab on this and I'm gonna come down to my skin tone tool again now I'm gonna pick probably around here my skin section now I just want to narrow its range a little bit if I want it to be quite as and the good thing is you can't pull this selection up and move it a touch as well you're not completely happy with it so I'm just narrowing straight I'm going to leave that the feather on there that was smooth edge on there because it's a nice subtle difference so again go down to our uniformity tool remember I'm affecting all of it as a whole now now that I've done their individual adjustments I'm going to pull the saturation with this probably up to a hundred all the way up and my lightness just probably around here looks good for me you notice how it's all evening out a little bit now okay and now I'm going to jump back to my main settings here in the amount I'm affecting the whole scene rather than the uniformity section so let's take my saturation down to about here that's good and I'm gonna bring my lightness up a little bit for the lighting the whole section of that very nicely right there but it's now bouncing all those red bits okay that's pretty cool remember it just be selected where your source you're taking your source point from okay that's that's the main thing here in these kind of things now my eyes are a little bit dark yeah so I just want to add another empty layer now you could for the black for the for the pupils you could you know use a Loomis and just pick up on your your shadow tones if you wanted I'm going to go in the quick and dirty route I'm going to come in with a brush now the important thing here let's just change my opacity down a bit take it down a little bit now I just want to brighten up these circles a little bit in a pupils so what I'm going to do and this is the important bit of using your your brush flow and if else here I want to affect these a lot so I'm gonna apply a hundred-percent brush on that right I'm gonna apply he says pen start working one second I've got a bit of a lock-up we go back oh demon child now okay the tops of the eyes so I just flicking E and B on my keyboard to go over to be my eraser my brush okay so that's at a hundred percent opacity but I also want to if I come back a little bit I just want to pull a little bit Ally across here as well so what I'm gonna do now is I'm going to keep it pulled out like that and increase my brush a little bit and then I'm going to come back in here and just put my up my flow all the way down so it's only a gentle amount and you can do that over the top you see that it and this is very very nice idea yeah so I'm just going to come through and remember if I keep rushing over the same spot then it's increasing that flow at that opacity so here I've only done one pass in the darker area here I've done a couple of passes got it so very very subtle from there and basically long I do is I'm going to go into my exposure tab let's take that mask off and I just want to pull I'm not going to change the exposure I'm just going to change the brightness a little bit just to lift it a touch there's only one lifted darker areas not the whole exposure of everything so you see the difference there if I click on a novel huh okay and again just you know happy or that you can change your opacity of that layer a little bit okay so very very fine differences and if you're not happy with the masking that's doing a bit too much you can erase a bit down there if you wanted to if this age was a bit too harsh you can just erase elf but that is actually the natural area of the skin tone so we'll leave that like this the way the light is falling on the cheek okay so that's the eyes on and off for you okay so that's all I'm going to change on that one just a little delicate piece and for me I just want to take the saturation down of the hair and the cheeks a little bit so I'm going to add a new layer I'm going to call that hair and face okay and again I'm going to brush this mask in it says trying to zoom in just get rid of the which is better there we go so I'm just gonna come round here I'm just going to do a very quick brush I'll make this really quick I'll speed this up a little bit come here just gonna whiz round here a touch I notice I've got my opacity turn my flow tone down overnight yeah that's cool good there's gonna come around here and now affect the whole scene together cause the other want the eyes involved so let's just get rid of those quickly here's a quick mask isn't it cheese [Laughter] right yes take those back out funny eyes to be affected all the lips don't want to take the saturation out the lips um we'll leave the rest as it is quick and dirty okay cool right so from there all I'm gonna do is go into my saturation and I'm just gonna take it down a little bit okay very very subtle just to take the redness and those cheeks a little bit so you see that especially on the right hand side cheek here mm-hmm I punch in if I did it before and after now you see it just taking that redness on her skin just a touch as a whole and the warmth out there here a little bit very nice okay so from there I want to sort the shadows out in the dress now so let's go to a field layer I'm gonna put that in there I'm gonna leave this at 100% I'm gonna put my mask on but I'm gonna use my luma range now I just want to affect the shadow areas so I'm gonna pull my highlight what I'm gonna do is pull my shadows down all the way so there's no feather right edge and then I'm going to pour my highlights down so I'm not affecting any of the highlight in the scene what about here roughly okay and then I can maybe a bit more there and then I can just feather this off a little little bit let's just pull that radius up a touch jumping around all over the place isn't it so basically that's all of that now only want to affect the dress and not the background okay that's the biggest thing that we got here take this one no okay okay oops guys jumpy jumpy jumpy right leave it at that okay there you go you see it shifted now right so brilliant now that applying that selection there we go I'm gonna take my eraser tool I only want to do some of the background stuff yeah yeah you got it you got it as kill some of the back rest let's put that up there let's get rid of all of this we don't it to affect any of that he says trying to get around his light that he's got his own face got a bit of a glare on screen okay I'll make this very quick okay let's just refine this down a little bit okay cool right so quit my so all I want to do just to pull it pull this shadow tones up on this dress because they are quite dark in the bottom so I'm just going to get rid of this it's like speed editing isn't it now this is when you realize just how long you spend everything your window box the clocks not maybe this will help your productivity yeah maybe [Laughter] let's just brush it back in on that shadow area there okay cool right so there we go so I'm just going to affect that now in my exposure tab and all I'm gonna do is I'm gonna take the mask off I'm gonna pull the saturation down a little bit okay sorry just a bit of color back in there mm-hmm if it won't stop jumping around there abouts that looks okay and then I'm gonna lift my shadows just ever so slightly I think that's cool and then lift my blacks literally if you just a slight touch if you want to type numbers in here you can just tap it and type the numbers in if you want to do it that way that's fine so you Joker the keys for like fine control as well should yeah yeah yeah that's right so I'm literally gonna pull my mid-tones over I think that's probably quite nice and then I'm just going to write that up a little bit probably about there so I'm really affecting that in my levels as well okay so that's all I'm going to do for that one but you see the difference there's my before and there's my after just put some life back into the dress see my mask is a bit rubbish around here you would fine tune it a little bit yeah you would just hit the erase tool and just feather that off a little bit more as I say we're not we're not judging away we're not judging right so now I just want to add a bit more pop into this so I'm gonna put what I call a we'll just call it curve pop there you go so like you and finish finished off kind of overall adjustment I guess yeah I just just want to add a little bit something in it oh he says I didn't think it's changing so that's a filled layer just so people can see mm-hmm and again I'm going to go in and use my lovely luma tool in my curves because I don't want to affect the saturation so I'm going to put a shadow point here okay and I'm gonna just pull that down a little bit about there and then I'm gonna just put my highlights up a bit probably around there so nothing major but if I do before-and-after on that he says there we go I'm gonna pull it down it looks like counterintuitive at a moment where you'll see why okay and that's all I'm going to do on that one okay and then we're going to go and give it a color grade let's do the fun stuff now so cool this color grade nope it says type everyone because the channels going to spell color wrong it's Old English that's actually we had a had a comment earlier from tin foil veteran right he thought we were America so really yeah where it is developed by a Danish company but everyone sounds very American we are about as British as it gets we're playing with our vanilla I know you're from the North originally aren't you so no I've done Southwest southwest okay yeah so I have no accent whatsoever and you have some mics in so yeah no American yeah right so I'm gonna jump here I'm going to affect my my shadows my midterms my highlights now of course with these color types you can pull them enlarge them if you want a better sort of adjustment so let's go in and see what we can do so just going to pull my mid-tones want to warm them up a little bit somewhere around there again we can change the saturation and luminance here or I like this if you want to call you and I want to make my shadows a little bit towards the blue so let's do that let's take those blue kablooie we're gonna take the opacity this down in a minute anyway so I wouldn't worry let's do that now stick it than about 70 you can see it good tactic to sort of overcook the color great a bit and then moderate it with the pasady I think that gives you a nice end result I think yeah and the good thing is if you don't want to move the circle around you can move it around with this little tag yeah you can move that around and again you can adjust your height your likeness on this side and your saturation on the left side so that's quite good but I think that tone is a very quick pretty good and then you can just pop that back into your stack wherever you want it so nice and easy now from there I am going to go into the color editor the Advanced tab and I'm gonna try and pick an area why don't the Blues for sure she'd done it before I actually calibrated it but let's let's change this luckily you can drag this around which is cool I'm just going to reduce this color range a little bit right here there okay and then I'm just going to change my hue and saturation a little bit so I'm going to crease my Q I'm going to desaturate that a little bit I think this is a fastest I've ever done an edit like this David and I just lined it up just a touch improving your productivity that's scary making me sweat okay so if we turn that whole color grade off now you can see the kind of direction that I'm going in this okay again you can always take that down a little bit on the opacity if you wanted to wow that's that's a that's a tough one that's new have you run out of layers yeah I should ensure that there is a 16 layer limit on a in capture one sorry that's purely because we're working on the raw data you end up with obviously a lot of computations going on between all the layers so there is a 16 layer limit so you must be close to that Owen thing we getting it I think we only doing 13 in total so we're fine oh very good so what I'm gonna do get rid of my color edit so I'm going to go back to my exposure tab I just want to lighten everything a little bit with my curve again in my luma so I don't affect the color saturation too much so let's go about here for that one and I'm just going to lift the mid-tones a bit more pulling I think about there okay about their happy fine so again just the luma on that one just wanted it just pop it ever so gently see the difference if I click that on and off that layer and again I've changed the opacity of it so you can strengthen that or weaken it however you wish and then this birdcage now is bothering me as well because it's a little bit bright now normally in the studio we'd put a net in front of that and now it's just a little little II like as it sounds a net you put in front the light and it doesn't diffuse the light but it does just stop the output power of the light a little bit and holds it back which is good it stops it being so overexposed okay so I'm going to do the birdcage here let's just pull this down a little bit now I'm going to use a luminosity mask on this one because it'll be easier alright so I only want to affect my highlights so I'm going to come up to his pens what did you do before the luma ranged so that's what I'm going to doing that so that's selected most of my birdcage area okay and then I can come in with my eraser tool make sure my I pass my flow is up and then it get rid of everything I don't want it to affect quickly which is all these areas and if only one affect the highlights I'm not worried about this shadow tone around here on the birdcage well worry about that at all so only what if at the highlights so I'm just gonna take the mask off I'm only gonna bring the brightness down a little bit probably there really and that's enough so that's the before and that's the after so it just kind of brings it in tune with everything else lighting wise a little bit makes it very subtle mm-hmm that's that one that's all I'm going to do on that as I said very quick adjustment and from here I think really now we've got the option where we can use our clarity tool to soften skin which which is quite nice so let's just add our final layer we'll do that as a field a final layer I don't believe it we call that skin softening again a lot going on here David never heard this webinar a good thing is we can cheat with our mask again so we can copy our mask from any course the hair and face or the eyes and the skin and hands I think is the skin all of it yeah I've caught it skin stiffening not skin softening and all this is doing is basically it's softening as skin tones so obviously I'm not retouching any blemishes obviously a new capture one Pro if anyone has seen that come out has some interesting new additions yes the additions which will help with a lot of that let's get rid of a curve get rid of our exposure we're not changing any of that we're just gonna use the clarity tool so basically I'm just going to smooth out some of this texture to make it suit the type of short that very baroque sort of style fine art and all I'm gonna do instead of increasing clarity which we generally do in shots on young skin and soft skin that can be quite harsh so I don't want that harsh effect so I'm gonna go the other way so I'm going to come down probably to about around 30 ish and let me just come in so you can see that okay if I do it before and after just on the clarity alone see then you soften it a little bit but I'm also going to take this rupture down about the same just to try and balance that out okay gives you more this sort of Renaissance look then I guess yeah so that is the before and that is the after just gives her that little dewy sort of softness fact in there and that I think David one two three four five eight nine ten eleven twelve thirteen layers well back I can already see with the with the grade I would spend more time in the color grade because if I go to the one I did previously which when you try and reverse engineer yeah is very very different my lightness is different okay anyone will know anyone who's watch me doing edit and said oh I'm going to edit this it never ends up in the same way it's almost completely reverse engineer what you're doing but the important part is there is the process yes indeed yeah yeah yeah that's the process I mean I mean that that is that's a lot to do you know consider we were talking for the first part as well that is I have to do in this short space and say I knew you were a bit ambitious about what we were going to talk about I think that's that's pretty good no fairness you know I would lift it a little bit obviously this is the one I've spent I spent time on and you can see I've picked my selection point for color grading in different places from my main scene yeah and a bit a couple of them and I've probably changed some of the levels a little bit to make things pop you know this is a very quick one hour it's it's getting there but obviously as not as not as bright as this one which means we would we would pull that up a little bit pull the curves up a little bit in in a lot of those I'll put up on the screen as well you did to that you sent to me yesterday as well so cuz that's nice nice big high resolution and everything yeah so you took a warm look at me because he might capture screen hang on no I'll bring that back as well you know okay okay put them up yeah yeah okay so these were some of the other shots I did so you notice when I made the adjustments on this I then carried on shooting with those adjustments on apart from the eye mask and the skin mask and everything else right but I mean my main color grade came in on all my shots which you can see that in there little behind-the-scenes monitor behind a chair alright so there's two versions of this this is the version that you've just seen me edit and this is with the colder bluer tone the cool tone as I call it now this is post Photoshop so it's had a bit more work done it and taking out the hinge at a birdcage and I have reshaped the head and the face a little bit here and pulled the bell of the dress out as well on the bottom left hand side yeah now I know people in the fine art world are used to more warmer tone of a rock sort of style warmth and that is that version they're just with a slightly different color great cool okay so we have the two final versions of that which one you prefer is it's your decision yes we're just gonna take a few questions Furlow I'll pick out like a mix of five questions and again if we didn't get to your specific question don't don't feel bad it's just between the three kind of locations with broadcasting to it's hard to see everything it that at the same time I'm sure you had appreciate but on Facebook YouTube you know in the coming days we'll pick up some more comments to everything as well so the first question from Philip who's in the webinar room he says is the mass display opposite to photoshop ie ie the red area would not be affected in Photoshop I I haven't done quick masking and Photoshop for a while but the the masks in capture one Pro the red area you see is the area that you're adjusting yeah exactly yeah okay so that's a good good thing to know Oh Eddy already answered that for us Eddy ah cool let's see Darrell also in the webinar room where come over to YouTube and Facebook as well great video so far Thank You Darryl Neher oh when would you choose to use the XT over your medium format camera for a shoot like this do you know that's a tough question because I love shooting medium format and always have done since the film days so it's hard to get me out of medium format right but you know the size and the speed of the XT 3 and 4 systems now and obviously for moving image with the XT for the five axis image stabilization in there and you know improved face and eye detection and everything else is going on in there is phenomenal a phenomenal beast of at all and everything's improving in that thing it's this quite scary how good it is in that respect it's quicker than I can be for sure nowadays I still love image quality of larger senses so not so much about the megapixels but I love the image quality of larger it is different and for people that shoot you know perhaps at the SLR and medium format or a mirrorless and medium format you'll know what I'm talking about the color range is different the dynamic range is different and the nuances between gradation of color tones and saturation is different as well it's a lot smoother yeah it's just yeah there's something about the larger medium format sensor yeah you know on the 50 and the 100 is just yeah that's something else yeah completely different yeah yeah yeah that's a tough choice for me if I'm shooting say you know I don't know a collection and you're doing 15 looks 16 looks when you're shooting three looks per collection then that's a lot of images I'll probably go xt4 based on file size yeah I don't want to thousand you ruled files from a GFX 100 yeah yeah that's right yeah speed and hard drive space for sure yeah Farren was asking could you combine the skin and the last skin softening one which you could I guess but then you'd be limited to the same opacity yes that's right yeah that's right it's nice to pick this those areas independently because you've always got the control to go back and adjust the opacity yeah of your brush tool you know your overall layer but also change your opacity of your brush tool depending on what area they're seeing you're changing but it's definitely the control freak approach isn't it whatever without being sounding rude but it does give you the ability to go through the layers and really tweak each one in a very individual stylistic way so yes yeah actually speaking to that on the edit that we just did can you show it with all the layers off that was levy can yeah there's just been my tool panel back yeah so just do a before or after on back let's go to no it's not that one there it is yes I can so basically go up to your reset if you hold your alt button and hold reset down that is the image before before and there is the after cool very see this one's a little bit dark compared to my original this is this one I've just clicked on it was the original edit I did and I remembered all my lights for you as he trying to replicate color grading when you don't know your source point is so yeah if you want to look at this one this the one we've just done is there is a raw copy which we try to replicate but if I go to this one you can you can see that is the before and that is the after where we got to before it was then pulled out into Photoshop and of course once you do any retouching and shifting of dresses and things you could comes back into photo in to capture one as a PSD anyway so comes back in once you've done your edits yeah so good work flow back and forth definitely letterbox dreams on YouTube that's a good thing was asking when using luma Temar luminosity masks it gets tricky when you're trying to separate the subject from the background oops went away on the mask and sliders can be close but not quite there so don't forget for refining that that so by default radius is at zero so the sensitivity will have no effect yeah so you've got a boost year radius and then experiment between pushing it all the way to the right yeah and all the way to the left for feathering but all the way to the right will definitely help you refine sharpen the edge yeah my mom's a very quick based on that time scale yeah and when the layers I had to get through you've definitely seen the rough rough version but also you don't always have to be super accurate so if you're doing in like if Wayne's background was really bright you could have done a super rough mask on the dress and then use the black slider or or a curve and then because you're targeting that tonal range it doesn't matter that the mask is sloppy because the Edit will only affect that particular tonal range so yes there's that to remember as well let's see RLC cuba said he was learning a lot today thank you that's good thank you in a pleasure sorry it was so rushed and sorry if i was talking at 300 miles an hour no no no it was it was it was a good pace definitely so it was longer than we anticipate in anticipated so much so that the light is now dying all the battery is now on my light so that's why I'm looking a bit gloomy over here let's see mark says brilliant talk thanks to both of you from Manchester UK thank you and Nick says so helpful to watch this portrait evolve and the techniques just cancel wide Dobby subscription perfect perfect think thank you very much for that and Ken was asking let's see do I'm not quite sure if I fully understand do you level the exposure white balance first before you retouch a set of photos or do you edit on each photo subsequently I guess no that's in that's in our first first layer that we global adjustments normally I would do it on the background layer but just for the purpose of this webinar I've just put a layer and then called it global adjustments yeah yeah so yes I would do those basic exposure contrast shadow and highlight adjustments and curve tool to start with and my white balance which I did shift at the beginning of this of this webinar yeah right there we go I think again apologies if we didn't get to your individual questions and but as I said this will live on on Facebook on YouTube and there's any comments that arrive after that sometimes youtube uploads the live chat sometimes it doesn't it's a bit miss for some reason and but we can always go back in field comments at a late later date as well and on top of that people can always if they've got questions Fujifilm xt4 i'll capture one Pro I'm more than happy to answer them they can always send their questions in to me on my email and my website if they want to get through in contact with me there and for those that are able to there will be you know when we get out of lockdown there will be three different workshops where I will be doing live workshops with XT and GFX cameras so you can come and play and I've got to say apology to everyone it doesn't xt4 you won't have the classic neg film simulation yet no it's not in xt3 yeah any other ones I'm hoping they'll be a firmware upgrade here at saamiya and I guess hopefully after this don't forget there's the Fuji House of photography in London if you're in the estate which is a great spot to visit as well if you ever happen to be in London do pass by and check that out so it's a great space yeah yes and if you want to see some more xt4 editing on Mather I can't remember which data is but if you check out our Facebook live schedule I'm gonna edit an XT 4 shot from Hong Kong so nice architectural shot we're the few layers not 13 and put in a couple of layers perspective correction a few other bits and pieces so keep an eye on our Facebook events and then you can come back and watch that if you're interested in Fuji and actually also later on in May I'm going to edit GFX 100 shot from Russell Lord he's one of your fellow ex photographers in Australia does certain in pictures waves water great stone eyes more Fuji coming coming and capturing content if you're interested so there we go nice one thanks Wayne thank you thanks thank you yes and showing is your workflow and being flexible with changing from our original plans of doing it all in the same place just shows what you can do when there's a challenge no challenge no special props no stylist no nothing no nothing exactly a birdcage from my from my entrance hall yeah and paid in chocolate and goodwill sure yes all right Wayne thanks a lot and thanks to everyone for joining and see you all guys see take care thank you thank you buddy see ya bye now you

Channel: Capture One Pro

Views: 14,724

Keywords:

Id: NWBibZ1xUe4

Length: 91min 9sec (5469 seconds)

Published: Thu May 07 2020