Capture One 20 | Quick Live: Focus on Skin Tone

good afternoon oh good morning welcome again to another Facebook live session so we're just going out on Facebook today just so we can interact with you a little bit better ask you a few questions and polls and so on and the first poll fingers crossed we're gonna try and launch is how many of you watching currently are actually using capture one so that'd be good if you could answer that just give us an idea of of who is using our software and who's interested to learn more about it as well so you should see that pop up on screen at any moment and then we can have a look at your answers now in the mean time what we're going to do today why we just let you guys have a chance to answer that poll what we're gonna do today a bit of Gnosticism and we're actually going to edit a photo of me which was shot by Peter Hurley out the W PPI Show in Las Vegas so he shot this of me on the show floor did a great job of course because he's really the master of doing these headshots so what I'm going to do is we're going to edit this and in particular we're going to actually focus on using the skin tone tool so this guy here and what the skin tone tool does is really help to sort of even up any variations in skin that everybody has but it's a really great easy quick way to just take out those variations without having to use an external editor or anything like that now talking about external editors we're actually going to do a round trip into an external editor and we're going to do that in a fantasy photo just because someone asked about that the other week and rather than just show Photoshop as an option let's also look at something else so without further ado I shall just get rid of my face for a second and we have a look at this shot so first of all this is how it looks out of camera this is after I did a few adjustments and edit earlier today so let's have a look first of all what we can do now Peter got this pretty bang on out of camera as you can see this was actually the first shot he took as well which was even more impressive certainly to the crowd who's watching you thought it was a different person on camera to the one that they were looking in front of them as well so I don't know if that's a good or a bad thing but anyway exposure is pretty spot-on I might just bring up the mid-tones a little bit with the brightness slider ever so slightly and a little bit more contrast and let's just put in a tiny bit of clarity oh that might have been a bit more harsh and contrasty as it's me so it really doesn't need much of those kind of basic adjustments and I might just warm it up a little bit with a touch more white balance as well so a few simple corrections let's just take that down a little bit yeah let's do something like that now what we're focusing on today is the skin tone tab of the advanced color editor so the color editor is split up into these three sections the basic advanced and skin tone and really the skin tone is kind of an extension of the Advanced tab but it's really designed to deal just with skin tones so so we're going to just have a look and see exactly how we can even my rugged face off this was after three days of being in Vegas which is probably why I'm looking a little bit on the peaky side so first of all actually before we get there let's see if we can do anything with my tired face or we come back to that at the end actually so I would do that at the end so let's put a new field layer and this is going to be our skin tone player now the reason why I'm gonna do this on a layer is that you'll see in a second so if we press M on our keyboard that's just showing me that the whole image is masked now indicated in red so whatever adjustment I do it's gonna affect the whole photo now over here going back to our color editor we're going to use the skin tone tool as I said to do some evening up now the way the skin tone too is to first take this color picker go over to your shot and decide what your reference skin tone is so that's really important so what we're looking for is the skin tone that you want to normalize to so I wouldn't pick up here for example because that's kind of red and tied and so on I wouldn't go over here because it's too bright and really not not the best color so why I'm kind of looking around here somewhere because that's the kind of tone I want it's the kind of luminosity I want it is the target skin tone so that's the best way to think about it okay so if we click here what you'll see in the advanced color editor or in the skin tone editor is a sort of sample selection so this is the color range that's been picked now what my goal is to is to expand this out a little bit and this way is the saturation range this way is the color range and then that little dot the dot that you see in kind of the middle of the triangle of the skin tone edit so that was my target skin tone so that's the one that I want to kind of spread everywhere or be the the target skin tone to normalize all the bad colors too if you like so that's important so the first thing is that we've picked our skin tone now the next thing is down here we've got some sliders called uniformity and up the top here we've got some amount sliders like so now the amount sliders if we pull these around all that's going to do if you see there that's just going to change the saturation for example of the target color so it's not going to do anything clever it's just going to change the saturation so you can see my skin tone getting smaller or less saturated and more saturated so that's just really editing the range that you see in this wheel light is we can make it a little bit darker or we can make it a bit brighter as well now these sliders they actually have a smaller range than the Advanced tab so they're designed to be sort of very critical because skin tone we don't want to make message we just want some finis so they're designed to have if you like a shorter range so that their adjustment is much less dramatic okay so now the clever bit is when we come to uniformity so watch what happens when we drag these sliders across so if we bring hue all the way to the right now notice you see my lips of change color so if we go back to zero and we go back to 100 everything has now been transformed to the dot so same for saturation and same for lightness like so now lightness I don't a touch because then I'm going to ruin all Peter Hurley's nice lighting so we're going to leave that as there is and then saturation we're going to put around here but now of course the keen-eyed amongst you are going to say well that's no good because it's affecting the color of the lips for example which is true so the fact that I've done this on a field layer is kind of the key so remember we've got the layer over the whole shop but changing these sliders allows me to dial in the sort of correct skin tone that I want to have now if you're not happy with the target skin tone there's nothing of course you just picking it again so we could just go over here and think actually maybe it's better around this area or something like that so you can pick again if you need to now there's only one pick in the skin tone tool so the advanced tool there's up to 30 but the skin tone is just designed to have one pick so if you're not happy you can always adjust again I'm going to make these a little bit bigger and then you can see what's going on so we need to fix this issue of course that it's changing areas that we don't want it to change so what I'm going to do is right-click on my skin tone layer and choose clear mask like so now I can grab my brush and then we can brush in my correction wherever I want it to be now first of all we're going to right click and just have a look at those settings I don't want pen pressure on so let's turn that off so size and hardness that's you know we want a kind of a nice soft brush we don't want any hard edges if you like so we want to keep the brush nice and soft and also we want to keep the flow relatively low and as you would have seen another live broadcasts this simply means that when I moved the brush back and forth it's going to build up the mask slowly so areas of my tired old face that need more treatment I can brush more and areas that if you know pretty good then we don't have to do as much so if we do a little bit of brushing around here like so then we can do so and then we can move up to this point just clean up those areas like so and then that just helps to even up now you're probably thinking not a great deal is happening at the moment but you can just see where the mask is and we can go a little bit down over here and just complete here now if we zoom in a bit whoa too close it's not nice looking at yourself this close up and if we turn the skintone layer off and turn it back on again then it just gets rid of that kind of pinky reddish tone or whatever and then we can clean up over here as well so that's just a really simple easy technique all of you can do that it's not difficult be a lot harder to do it in Photoshop or affinity photo or whatever so if we turn that off and on again like so now if you want to you can move your target color around and this really shows you what this tool is doing so if I was to grab this point and then move it over here for example then it changes if you like the skin tone color so you can see exactly what's happening by moving that target around so it's normalizing everything in that wedge so normalizing everything in that triangle to that particular picked point so you can really set the sort of skin tone that you want to get to either by moving it sort of manually like that or of course you can always just do another pick and then make sure you expand everything else now yes Joel I saw that question it is hard to see the difference on on a small screen but again it is only designed to be subtle so for example let's do if we say image we're going to say clone that variant so we're going to bring the two up side-by-side like so and then on this one we're just going to turn that skin tone layer off like so so if you look here at the difference and here then it's just taken out that sort of team's like so now depending how even or uneven the skin tone is you're going to see more of a change now quite often people's hands if you've got hands up in a short or something like that you can probably even see on my webcam to some extent but skin tone color is also varies a lot between arms limbs face and so on and so forth so this way this is another way of bringing the skin tone closer as well now what you can also do if you think you've overcooked it let's just get rid of one of those if you think you've overcooked it or it's not quite enough you can always bring the opacity down of your layer as well just to make it a little bit you know more subtle too so skin tone correction super simple in capture one but we're not done yet because I did promise a bit of a round trip as well and there's also another thing we can do let's take some years off hopefully let's add a new heel layer like so I'm going to grab a brush and what we're going to try and do is just reduce the sort of difference in tone here so if I hold my Alt key down and let's go around here and then what we can do is is just mask a little bit under the eye here now when we take the mask away it's going to look pretty poor folks you can see a bit of my nose but if we take the opacity down then we can just blend in a little bit of brighter skin tone just to take the edge off like that so that's the left all right and then we could also do another heel layer just over here for the right eye so let's alt click that picks the source point and then we can do a subtle let's just bring the mask in whoops I managed to move it something like that you would maybe spend a bit more time let's just move that over there so if we're looking for similar sort of skin tone and let's bring that down a bit and then again take the opacity down because that doesn't look very believable but then we can just take the edge off a little bit like that as well so sometimes I'll be honest with you sometimes you don't have enough data to pick from to sort of get a good effect but at least in this case it just takes the edge off a bit make me feel a bit better about myself if you like so we've done that and we've done that like so just to reduce that a little bit now the next stage that we might want to do of course in this kind of workflow is just to bounce out to an external editor do some retouching and so on and so forth and you can see in capture one we've done those simple key layers just to help my tired old face a little bit but all the kind of little spotting blemishing or advanced retouching makes more sense to do an earring and an external editor so how do we do that so what we're going to do on is right click here and say edit width now there's an edit within an open with so it's important to know the difference between the two so if we say edit with we're always going to create an additional file so that's going to be a tiff or a JPEG PSD file or something like that now if we say open with that's going to purely take the file that I've right clicked on and open it in the application of my choice so that's that the difference between the two so edit with always makes an additional file and we're going to do a little trick when we round-trip is also to get two versions were going to have a color and a black and white version so let's say in this time because we had a little comment last week you always show Photoshop I want to see if finiti photo so I went ahead and downloaded the trial and I've spent about 15 minutes using it so for those of you who are experienced on affinity photo I apologize if I get it wrong but we're just going to grab a tiff 8-bit is fine Doby RGB and let's say edit so what capture one will do is now save that TIFF file and open it three into affinity photo now it was very quick as you can see but the TIFF file is now being placed here like so so this was the one that we were editing and here's my TIFF file like so so I'm just going to pre prepare ourselves and zoom in for a second and now we're going to retouch this for example now I'm not going to spend ages in affinity photo because this is a capture one demo but let's make a new layer and it took me a while to find exert has a funny name compared to Photoshop but I'm going to use where is it this one the in painting brush tool so all that allows me to do is just to pick off little things like that now I'm on a retouching layer so I just have to make sure I'm sampling the layer below as well and then we're just going to pick off like typical things that we might want to retouch and as I said I'm not going to spend ages doing this I just want to show you a little neat workflow with capture one so let's get rid of some of the hairs which I'm kind of losing anyway and these kind of blemishes that you might just want to quickly retouch like so and this and this and this and so on so I'm happy with my retouching job the super speedy one that it was and now we're just gonna save this out so I'm gonna hit command S on my keyboard and say save with layers because I want to keep this layer so I want to keep my laid TIFF intact in case I need to go back and do any other retouching now this workflow that we're doing identical in Photoshop so save with layers just do the same thing in Photoshop as well so let's say save with layers that's going to take a while now if we go back to capture one let's just Pete down here and see what happens so we're looking at art if so the TIFF is going to complete like so capture one's going to rebuild the preview and then you saw those few retouching bits disappear like so so what we can do let's just close this shot down for a second let's go back into this one and then now what we can do is so we've got our final retouched color version if you like what if I want a black and white well I can make a virtual copy in capture one so I can say clone variant like so and that will give me a virtual TIFF coffee now we're not editing the raw file here but if we're not doing tons of edits then it doesn't matter because we've got enough data in the TIFF file now if this was a 16-bit TIFF that would be even better but let's just do a quick change to black and white so I've got my color version and I've got my black and white version we could still do some edits to this if we wanted to as well let's just tweak a couple of sliders and so on so but the point is we've got our color version and we've got a black and white version now I've just spotted that I have missed a little retouching bit here that I wanted to do so what I can do now is use the other command open with affinity photo like so so now if I say affinity photo again it's going to open that back up with my layered TIFF I can fix my mistake over here so let's grab my in painting tool again let's fix that oops I need to be on current layer and below so let's fix that little error there let's fix something else so that's also obvious a couple more of those and and so on so you can see you can move pretty quick between different applications and let's get rid of those so it's really a whoops to undo that one there we go so now if we say save go back to capture one let's just see the progress bar here watch over here and then you'll see that disappear once it's completed saving capture on a rebuild its preview and there we go now the cool thing is because this is a variant so the TIFF is a variant if we go to the black-and-white that also has the same retouching in there as well so I haven't got to do the same job twice we could even do another variant of a color one do a different color grading and so on and yes I know you're on the TIF but there's enough data in there just to do those kind of minor things like make it black and white now to finish this kind of workflow off let's say we want to save these out my color and black and white now I'd like to have a JPEG and I'd like to have a let's just say a tiff for example not that I'm gonna print myself out it's narcissistic enough doing your own photo let alone printing pictures of yourself out anyway so we're gonna have a JPEG and we're gonna have a tiff so these are processed recipes which you can predefine that's a whole other sort of broadcast we could do idea for next week which defines your output so JPEGs Tiff's and so on so I want to have a JPEG so that's going to be JPEG and I also want to have a tiff which is two different sizes now if we go to our JPEG and look under adjustments and we zoom to a hundred percent what we can ask capture one to do is by hitting the proofing button we can simulate what it's going to look like once it's exported now this has resized it down to 2048 pixels by turning this proofing button on and off and what we can also do is say because I'm resizing the shot it's getting smaller that's going to have a negative effect on the sharpness so we can add some output sharpening for screen and decide how much we want to have so that will throw in a bit of extra sharpening for that reduction in size now when we go to the a3 print that's going to be somewhat bigger because capture one will calculate the resolution it needs to be at 40 centimetres at 300 dpi so then capture one we'll figure out what the pixel dimensions should be now again we can now add some output sharpening for print and then that will add a little bit of sharpening in for those dimensions now the cool thing is under here is that we can also say to capture one put the photos in a folder based on their recipe name and also rename them based on their recipe name so we're going to have two different folders two different file names nice divided up so let's have a look at where these are sitting so they're going to go into this folder and we're going to say process straightaway there's our JPEG nice and quick as you can see resize to should be 2048 pixels and then now we've got our TIF at 300 dpi for those dimensions which capture and figured out needed to be those pixel dimensions each in their own folder like so nice and simple how easy is that so there we go let's have a look at some questions as well before we throw another poll at you as well one second Allan was asking when you clear the field layer are you not just adjusting the base layer if so why create the field layer well if we go back to this shot that we changed which one was it it was this one I believe so we have our skintone layer so the whole point let's just do the process again by making a field layer which is over the whole image just allows us to see what the corrections are doing so let's say we wanted to brighten the eyes a little bit so remember it's on the whole layer so I could think how am I gonna brighten these eyes let's bring up the brightness a bit maybe add a bit more contrast and maybe a bit more exposure so I'm on the field layer so I can see exactly what's going on now when I right-click Alan and say clear mask all I'm doing is getting rid of the mask but I'm keeping those adjustments that I think you're going to be right now I can grab my brush and with a nice low flow again I can just brush in those parameters as much as I feel as necessary so now if I turn this layer on and off you can see what it's doing like so and just need to fixed a little bit there for example so that's the point of the field layer first approach it's actually I picked up from pratik one of our ambassadors who's a retoucher and that's kind of his method on methodology and Photoshop for some things so that's the benefit of doing it like that would you recommend that way to dodge and burn or is it more preferencing yeah for dodging and burning I do the same thing so I'll make a filled layer brighten it to what I feel is good for the parts that I want to do clear it and then brush it back in so yes can you copy the adjustments from the skintone layer to other images without the mask itself no when you when you copy a layer across so if we just go to number this is a different shot for example if we wanted to copy those layers across I could hit their copy and apply a button and I could decide which ones I wanted like so let's say just the skintone one so if we say apply and we look at this shot it has the skin tone but it will have the mask as well now I can either move the mask a little bit or I can just brush it where it needs to be but it will unfortunately be mask and adjustments but you can always edit the mask or clear the mask or or whatever Herald says if I'm using Photoshop do you preferred TIFF or PSD you know what there's not much sort of disadvantage to using TIFF those Photoshop experts watching will know better than me but there's not really a great deal of difference sort of between the two one of them is more efficient in terms of file size but I can't remember which which one that is but layered TIFF so just as much functionality for the kind of things that we were looking at here as well how do you know when you edit that you don't go over the top it's difficult actually because I'm sure certainly when I edit shots if I would take this picture and then edit the day-after it could look totally different especially with things like landscapes and travel shots it's very rare they look the same day after day so that's difficult but I think trying to keep it it's subtle if you like and just not you know not too contrasty not too crazy colors not over sharpened those are the things that tend to look over edited as as well so but it's tricky but keep an eye on those things so not too contrasty not oversaturated like mad not over sharp and that tends to be you know the indicators of over editing as well but that's a it's a great question lacay if I said that right so can you explain dodge and burn maybe we'll do that next week actually dodging burn very simply is just selectively brightening selectively darkening of different areas of the photo so for example if I felt this area was too bright like this part I might just decide to just take that down a bit or I might lighten this side of the face a little bit and so on so we can do that with layers masking as you said before but that's actually a good subject for next week maybe I would think there was a good feedback actually from let's see I just it flashed past my eyes Wesley that was a PSD is more efficient in terms of file size there you go thanks Wesley so layered TIFF has the functionality but PSD is more efficient in file size now when it comes to affinity what I did discover in my sort of 10 minute little air crash course of it is that it can open a PSD file but as far as I could tell correct me if I'm wrong you couldn't save a PSD file back again but a layered TIFF to work fine and that round-trip work nicely with capture 1 but if you're using Photoshop you can round-trip with a PSD as well okay now I think I just arms a couple more questions and then we've got a final poll out that we want to throw up with you as well could we do a demo with Helicon focus and focus stacking we could actually it's it's a great tool actually so if you're doing product work or stacking landscapes we can round for it with Helicon as well so that's something else we could also do in in the future as well oh steve says you need to export as PSD in affinity I couldn't actually find that option when I looked but as I said maybe I wasn't looking hard enough for example so I have to look into that Steve but if you can do that and you can export PSD great you could do PSD and TIFF as well okay so we're going to finish off with another poll so we get that up there on screen as well and then the second question that we wanted to ask based on what you've seen today of course don't change your mind now but skin tone correction like what we did with the skin tone tool is that something that you doing capture one or is it something that you don't do in capture one because it could be that you haven't seen how to do it yeah of course but it's interesting to know is that something you do periodically in capture one or have you never seen that before and you've always relied on something else so just a simple yes and no answer as well of course so there we go okay now while that pole is coming up I'll just check on a few other questions my hair was asking do you use auto adjustment as a start point to finish sometimes actually because the auto adjust can work really well now if you guys are around tomorrow so we have a webinar tomorrow as well twice so one in the morning one in the afternoon European time and one of the shots that I picked out for that actually works really nicely on auto is a really good start point so just because also is you maybe think isn't such a great idea doesn't mean that you shouldn't try with it so if we take this same shot and we say new variant now the difference between those two I saw someone asked is a new variant will just make a copy of the virtual copy of the raw file so it doesn't actually copy data it's just a virtual copy with no adjustments clone variant will do a virtual copy with the current adjustments that we on the file so if I do new variant this gives me number four and we say also adjust doesn't do quite a good job in that case so it's kind of misjudged the exposure probably because of the dark area for example but if we bring the exposure back down then it's not too bad so I think with those things and it brought up the shadows because it's fooled by the dark area so depending what sort of environment the pictures and sometimes Aalto can work really well but it doesn't take you any time to just click auto adjust and if it's no good command R to reset and start again but one of the shots I'm going to edit tomorrow on the webinar works really nicely with auto adjust its kind of pretty much bang out the gate but this one with its low key lighting looking at the histogram as well that's gonna fool the auto adjust but Auto levels exactly Travis I just saw you saying there's no reason why Auto levels in here wouldn't work quite nicely as well so Auto everything depends Auto levels is just a really quick way to set those level points and finally from Angelique you copied a layer but how do you apply it to the other photo so let's go back to this one and let's kind of bring those up let's just reset the layers on that one there's nothing there so if we get this one we can say copy decide the layers that we want to have and then down here you can say apply like so now if you always want all the layers you can just do a shift click on the little up/down arrow and that will do everything you can see the help bubble if we stick the arrow just in the right spots the little help bubble that comes up which is not going to come up now there we go so it says hold shift to hold option to suppress the dialog box so it just does a quick copy and apply shift to apply immediately so there's a couple of shortcuts that there you can do as well okay sorry for those of you who couldn't necessarily see the poll they were popping up on Mac but I don't think they were coming up on some instances of iOS so if you miss the polls I'm sorry but thanks to those of you who have answered as well but it could be a privacy setting that's a good point Travis all right thank you very much again for joining today it's it's definitely an uplifting part of my day to chat to you guys when we're all stuck at home gives me a reason to have a shave and put the clean shirt on as well so so thanks for for joining us once more come back on Friday same time we've got a couple of guests Emily Teague and Brandi Nicole two photographers from the US who are going to join me on Friday webinar tomorrow which you can sign up for as well that's on our page learn capture 1.com you'll see all the webinars there which are coming up so when the end screen comes up you can see the link there as well to get to our webinars actually I will just be efficient and turn type that in as well learned or capture 1.com so that should be coming up on the comment - all right thank you very much everybody I hope to see you all again in the future and I hope that was usual useful sorry you had to look at my face for the duration and but it was just a good example of what's possible in a round-trip scenario so take care all and see you all soon bye now you

Channel: Capture One Pro

Views: 29,981

Keywords: capture one, Capture One Pro, raw converter, photo editing software, capture pilot, captureone, Lightroom alternative, aperture alternative, studio software, Switching from Lightroom, Capture One vs Lightroom, Tethered, Shoot tethered, Image capture, Capture One Styles, Captureone styles, capture one pro 20, capture one 20, color editor

Id: vZb_bAaNAds

Length: 36min 2sec (2162 seconds)

Published: Wed Apr 01 2020