Capture One 20 | Quick Live : Focus on Dodge & Burn

good morning or good afternoon everybody welcome to broadcast so thanks for joining us we're going out on Facebook and YouTube so welcome to you depending on which channel you're on do let us know in the comments where you're from it's always nice to know where everybody is sitting and listening um before we get to today's little edit just want to throw up a quick poll now this polls only going to come up on Facebook so if you're on YouTube we can't put them up on there at the moment I'm afraid but if you're on Facebook just let us know on the poll if you've heard about our 30-day challenge which we're running at the moment so when you see the poll up on the screen you can answer that at your leisure if you're on Facebook and you can just clear that poll when you've answered it - so it doesn't need to stay on screen okay so do answer that and let's get into what we're going to look at today so that the title today was was dodge and burn now regardless of what kind of attack for you do let's just get rid of that little preview screen regardless of what kind of photography you do you can apply this technique to anything so I just pulled out a couple of shots we got a street shot and then we've got this nice landscape from Norway as well and we're just going to lighten a couple of areas or dock and a couple of areas as well so that's the plan but if you don't shoot straight if you don't do landscape doesn't matter principle is the same regardless so let's take a look first of all I'm going to hide my browser so we can have a bit more real estate and before we start to get editing anything else before we get into the dodging and burning sort of side of things what is good to do is just to do some basic edits so first of all I'm going to hit C on my keyboard to get the crop tool up just going to reduce a bit of the crop at the bottom like so so that's a little bit better and again before kind of getting into where I might like to do some local lightning or local darkening it's best to try and get a good overall sort of adjustment to the entire shot and then think about areas that we want to treat individuals so it's a little bit dark overall so I'm going to bring up the exposure a touch as well as it was a bit on the muddy site and then let's bring up the brightness as well and see how that's doing one second I just noticed someone said the the output was a bit fuzzier than normal but that's generally down to Facebook and YouTube depending on the traffic in your internet connection but it's all looking good on my end so I just wanted to double check okay so I messed something up anyway so let's brighten that up a little bit think that looks good and we're adding some contrast and also a little bit of clarity as well so that's a good kind of star point now a couple of things that I want to do over here on the left left hand side that's kind of a little bit distracting or a bit bright for me and we've got this kind of splat on the side Walker's as well which I want to get rid of and I just want to darken all of that down but just in that particular area so first of all let's get rid of that splat so I'm gonna make a new key layer like so and we're going to grab our brush and right click to see my brush parameters don't have to do anything fancy here with float we're gonna get to that in a second now I want to grab a bit of the sidewalk here so I need to hold down alt and click once that grabs my sample spot let's just check do coming back everybody's sorry about that we just had a little air streaming glitch for some reason so we're back up now so apologies that we cut out so if you've missed a bit do apologize but we are back on I will keep an eye on the feed as with everything these days Internet traffic is fairly busy so but everything looks good now so to recap we just got rid of this blob over here on the pavement and what I want to do in case you missed it I don't know when the stream cut out this area on the left-hand side it's just a bit on the bright side so I just want to bring that down in comparison to everything else so how are we going to do that so I want to reduce this area and maybe a little bit over here as well now the way I like to do that is to start with a new filled layer now a filled layer if I press M on my keyboard that's over the whole shot like so so over the whole shot so the reason for doing this and and this always comes up in the broadcasts and everything is that by starting with if you like almost an adjustment layer we can decide how exactly we want to do the Edit on that layer and then we can decide just exactly where we want it which is going to be just over in this area on the left hand side but we've got a lot of choice on how we can darken that down I saw a question whizzed up earlier about difference between exposure brightness and so on now when we're dodging or burning or darkening and lightening there's a whole bunch of different tools that we could use to achieve that effect so over in this area I just want to bring that down a bit and what I am tempted to do is because it's you know it's kind of sitting around here in the mid-tones I think I'm just going to use a curve now to get the exact tone that I want to drop down I can grab my picker here in the curve tool and then you see as I move my picker around that little orange line dances around the curve area so I'm just going to click here and that sets my curve point for me so now if I want to bring this down you can see it's affecting the whole shot but I'm just looking at this area over here so I'm gonna bring it down to something like that I might overcook it a little bit but it doesn't matter because when I paint this area back in we can really control how far we want to go now I want it also to be a bit grittier so I'm going to have some more clarity as well like so okay so now I'm gonna right-click or let's name our layer first of all let's call that darken and always call it D for short and then right-click and we're gonna clear that mask so it's just going to get rid of that mass completely but the adjustments I made with the curve and the clarity is still going to be there so let's say clear mask and you'll see that change now I saw Arnie was asking let's just stick that on screen because that's a good intervention why start with a filled layer verse is a gradient mask I have a nice horizontal separation I do but I don't just want to do this area I might do a little bit over here top of the cab is maybe a little bit hot as well so that's why I want the flexibility of doing it this way so let's get rid of me and let's get rid of the browser for a second whoops that's the wrong you know screen only that wasn't the right shortcut key let's get rid of the browser there we go that's better and let's get our brush back now let's right-click and look into these brush settings so when we did our heal layer we just played around with size and hardness we didn't do much else now what we want to do is play with flow now with flow at a hundred percent as soon as I start brushing and let's just do that let's just do a brush here you see it's painting in that adjustment straight away but it looks pretty clumsy because you can see you know exactly the areas that are brushed so if I go over here and so on it's not gonna be a very nice experience or it doesn't give us any control so let's right click and clear the mask and let's do it properly so what we're going to do now is bring this guy down flow and this is a really important aspect when you're trying to do some selective dark and darkening and selective brightening because flow is really this critical control that helps you build up the adjustment slowly until it looks good so let's bring down make this a bit smaller and flow is a percentage adjustment so it's set to four right now which means every pass of the brush or the mouse it's going to build up in four percent increments so it's going to allow us to build that adjustment up nice and slowly which is why our knee I didn't want to do just a gradient mask so now over here we can brush back and forth and then it's gradually building up that adjustment until I feel it's kind of about right and if there's anywhere that's a little bit brighter than others then we can give it more treatment than areas that have a bit less so on top of the cap here I'm going to make my brush a bit smaller so that's with a right click and then I'm just gonna give a few swipes there just to bring that down a little bit darker and then over in this area I'll right click make my brush a bit bigger let's get me out the way and then we're gonna bring this area down a little bit as well now it's all quite subtle so until I turn the layer off so the dark and layer off let's have a look and you can see before and after like so now of course if you want to see exactly what this mosque looks like if we press M you can see the mask in red now that's tricky to see so a really handy little tip is in this area if we click on the eye icon we can say display grayscale mask and this will give us a mask in different grayscale levels so the brighter the mask the greater the underlying under lying adjustment and the darker the mask so if you look kind of around here there's barely any adjustment so the underlying adjustment my looma curve and so on is going to have much less effect so it just gives you lots and lots of control and again if we if I think you know what I've gone a bit too far over here I can switch to arrays and then we can back it off I mean the important thing to note is that in your brush tools you have this checkbox linked brush and eraser settings I always struggle saying that that simply means that your brush and eraser will share the same slider patterns now this way sorry slider settings now this means that if you'll switch in between brush and the eraser quickly then you know that the brush is going to behave in the same way so if I'm brushing so I can press B fur brush and we can darken that up a bit more or round here and if I press II see it changes to the minus symbol then we can always change areas that we wish cool and then you can always go back and forth as you wish now if you want to check the overall again we can turn that layer on and off off and on and don't forget you've got the opacity slider at the top so you can change the overall look so that's like maximum and then down to the minimum all right let's have a look at a couple of questions and then we have a look at another one let's see all quite a few questions so I'm just going to pick a couple out and yeah we will combine the two recordings don't worry and then we just make it into one seamless recording otherwise you'll have to watch to on Facebook or YouTube so we can fix that don't worry why Keith was asking do your adjustment settings remain if you clear the mask that was Keith asking because all I'm doing is clearing the mask I'm not clearing the adjustments on that particular layer just the mask it's also a handy thing if you've been doing some masking you've made a total mess of it and you want to just clear it then you can do so so that's why Keith let's take that off and another question Jose we're saying can you paint in a black and white layer you use the black and white tool but there's no reason why you couldn't have a layer on - 100 saturation and then just paint that in where you want it and you would have a similar effect okay why do you need the opacity option in the brush tool that's a good question you don't really need it anymore to be honest you can kind of use it as a gatekeeper because if you set opacity to 50 then that would mean you would only ever reach 50% of your underlying adjustment but as you've got opacity in the layers control I always leave this on a hundred now I don't really have a case for changing this but flow is very very useful all right let's get rid of that question and let's do one more quickly and then we've got another little poll to ask you at the back you keep using the wrong shortcut keys here we go there we go right shortcut key so this shot I've already edited this is just going to be a quick one let's get rid of my browser like so and what I want to do with this one I say we've got a few edits already we can look at it like so so that's before and after so we've done a few basic edits what I want to do is just kind of get a bit more drama up into the sky now the rest of the shot is quite nice so I don't really want to touch that again really same principle edit for the whole shot and then think okay this area I need to make a slightly subtle change so similar principle as before I always like to start with a new field layer rather like an adjustment layer in Photoshop if i press m you can see the mask so it's going to affect the whole shot and now I want to kind of do something to improve the sky so let's contrast isn't really doing anything so that's an adjustment I'm not going to use clarity may well do something so we can push that quite hard and it looks good it's bringing out those clouds and maybe I just want to darkened down those aspects so once again if I grab the picker in the curve tool and just stick it on this area here the tone it's suggesting is roughly around here so if I pull that down there we go now I can see a bit more drama in the sky so that's getting to potentially something that I might like so once again Keith we're gonna right-click and clear the mask but that's going to keep those adjustments intact because we're not clearing adjustments and now if I grab my brush once again I could just do a quick splat over the whole area but what I might do is just bring up flow a bit is I'll kind of focus it around these streaks a little bit more so if I just go back and forth over those areas then I can just enhance sort of what's already there if you like something like that now when you're brushing if you feel that you're having to brush a bit too much like you having to do a lot of leg work brushing backwards and forwards for it to build up then you can bump up the flow now if it's happening too quickly and you're not getting the control that you want then you can dial that depth back down so I'm normally around between five and eight something like that so it's very nice and subtle to build up so now if we turn this layer off like so you can see before and after just an extra bit in the sky if I feel that's a bit too much which I think it is I'm just gonna take that down a bit like so so that principle you can really apply to anything whether that skin or a street shot or landscape or whatever doesn't matter the thing to think about is what tool am I going to use to create the effect I want so if we go back to this shot so this one here for example which one did we edit this one so we had our heel layer which got rid of that and then we just had a simple dark and layer like so so that was a combination of curves and a bit of clarity to sort of darken things down if we wanted to lighten some areas let's do that quickly I'm going to do a new filled layer let's say we want to peep into the cab a little bit more again that's covering the whole shot and if I want to lift this area I know probably whoops not that one let's reset I know probably the best slider to use is the black slider because that's that deals with the very darkest tones so I'm going to lift this up probably a little bit more than I think and then right click clear mask grab my brush make my brush a bit smaller and now I can just paint in here and just open up that section a bit now I'm being quite sloppy why am I not carefully cutting around the edge of the windscreen because I know the black slider is not going to affect this area here because it's not it's not part of of that adjustment tools premise to adjust that kind of brightness in tone so if we whack this blackness slider black and forth you can see it's only affecting this area even if I press em you can see there's my mask even if I brushed way over here it's not really affecting the cab tone much because it's too bright for the black slider so you can always think about what the best adjustment for the effect that I want to have it doesn't always have to be exposure it could be brightness it could be contrast it could be clarity it could be a mix of all those various different things so use what works best okay let's have a look at some of the questions let's see okay can you show how oh that's half of the question there Bruce let's see can you use a pressure-sensitive pen to airbrush well I'm using a Wacom tablet and a pen as you can see now if we look over on to capture one and we right-click you can see there is a pen pressure option but that only relates to opacity so it's kind of less useful to be honest oh sorry brush size not a person T so that will vary the brush size now depending how tactile you are I'm sorry let's just move Patrick's question down a bit as I was hiding it if you sorry you can now see it if we highlight on pen pressure panel pressure so that will change the brush size with pressure on the pen now depending how tactile you are or good you are to be able to do that kind of dictates its usefulness I don't necessarily find it useful I think I can quickly right click and change the size without too much difficulty what I will say Patrick is that doing this kind of dodging and burning or selective adjustments and so on it's much easier to do it with a pen compared to a mouse I feel purely because it's more comfortable to hold a pen for longer durations and to make those kind of sweeping if I just bring this one up to make those kind of shapes that we did on the sky back and forth for example then it's much easier to do with the pen so that was a rather long answer to your question but I can't sort of recommend it highly enough airbrush what does that do that's like a time-based adjustment and I have not found a good use for it if I'm completely honest so if you turn airbrush on it's time-based so flow is movement based back and forth back and forth flow is how long you are clicking on your tablet or holding your mouse button down for example so those you know that's the difference between - really but as I said haven't found a good use for airbrush let's have a look someone's copied my hairstyle god he must be desperate Adam it's not much of a hairstyle to copy and I don't think it's gonna get any better as these weeks go by and we can't get haircuts so there we go Peter says dang our have to invest in a tablet um don't have to spend loads of money like I'm lucky this is a relatively high end Wacom model to be honest I don't use 90% of the features of it I don't use the pressure pressure sensitivity I don't really use the expressed buttons on the side it's just really nice to have a pen and a surface to work with you also don't need to have a massive tablet either bigger the tablet is good for illustrators because you can get that fine level of detail but even the smaller tablets like the little a5 ones and so on works just fine as well the tablet I'm looking at I've got to flip it over and look underneath it I don't think it's available anymore it's an Intuos Pro medium I think it is so but I've got a feeling it's an obsolete model now as well great ok one last question Luigi was asking sorry Luigi you whizzed past here it is Luigi was asking can you explain how the highlight shadow white and black slider work which pair is the histogram are affected by each one so if you've watched any of the previous live broadcasts you might know the answer to this but it's quite simple so highlights and shadows let's bring this guy out so highlights is kind of this area all right there we go this area so like the top third there's a kind of a guesstimate and shadows is the bottom sort of 3rd down here so from about this point whites and blacks it's really the deeper end of the scale so if we find [Music] cat example very good cat that posed for us specifically to highlight this tool so if we grab the black slider you can see it's pretty much just affecting the those really darkest tones of of the cat's fur whereas if we grab shadow you see it's affecting a little bit of the background as well so it has you know a greater effect so shadows gonna change it a little bit more blacks is just those really darker tones and the same goes for highlights and shadows as well so if you feel the shadows and highlights it's just affecting too much of a broad range then just kind of go down a step to white and black which is really restricting the either ends so hopefully that makes sense oops sorry can I please remove the text which is covering the screen it's stupid David yes I will so just remember white sorry blacks just the very darkest tones shadows kind of going over a little bit broader as well same for highlights and shadows sorry highlights and whites highlights top third why it's really at the end of the histogram as well cool all right let's pop that back last question or pull that we want to throw up on Facebook throw up my eyes you need to put up not throw up put up on Facebook is have you used dodging burning in it capture one that before if not are you gonna give it a go in the future so hopefully the couple of examples that you've seen today relatively simple and any of you could have a go with that as well so do let us know when the poll pops up on Facebook what your preference is as well but please do try it's very simple you don't need a pen in a tablet you can do it perfectly fine with a mouse but if you're doing a lot of it then it's just more comfortable and a bit more fluid using a pen and tablet as well cool all righty so many thanks again for joining us today tomorrow a few messages before we to say goodbye tomorrow we have a webinar which is all about working with layers so there'd be a little bit more of this as well and going a bit more in depth too so if you go over to learn capture one comm you can always find the webinars that are upcoming as well so please check that out and join me tomorrow we have two times lots one in the morning and one in the afternoon so depending where you are based in the world you can choose which one makes sense we've also got our 30-day challenge as we mentioned as well so take care of that as well and as my colleague is going to put up on the screen on Facebook and YouTube we've got 25% of capture one at the moment a nice little Easter promo that's going on as well so check out those offers as well sorry if we don't get to all your questions there is rather a lot of you today it's been a record number of people so thanks for joining us sorry we had the interruption in the stream but we've pieced the two bits together fingers crossed and and then you can watch the whole thing again at your leisure alright everybody thanks again for joining us for this live see you tomorrow on the webinar if you'd like to join up learn capture one comm and also back on Friday we're going to look at the color balance tool in particular same time same place here

Channel: Capture One Pro

Views: 14,292

Keywords:

Id: dhtTcou8xic

Length: 27min 32sec (1652 seconds)

Published: Wed Apr 15 2020