Capture One 21 Live | Editing your Portraits

good afternoon or good morning everybody thanks for joining today's webinar which is all about portrait editing uh now there's lots to do today so we're gonna get straight into it as quick as possible for those of you on facebook and youtube uh welcome feel free to put your questions comments in there we are wanting to monitor can't speak today we are monitoring them uh as well as myself yulia and diego across the channels as well if you're in the webinar room and you want to ask a question try to keep it to the q a tab it just helps to separate it out from the main chat but do feel free to use the main chat for heckling abuse and talking amongst yourself as well if you want a bit more room in the webinar room then do hide the chat and that will just give you a bit more space on screen as well so let us begin so the purpose of today is to look at various different portrait edits we're also going to look at a couple of new styles that came out today as well so hold that thought and new toys for demonstrating i've also picked up this little gadget for mouse highlighting so i'm going to test it out with you guys today if you find it irritating do let me know equally if you find it useful do let me know as well so we've got some great shots as you can see on screen we won't have time to edit all of them so we're at least going to edit the one from joe john mcdermott brandy who's online hi brandy danielle siobhan and one from kish as well and we might use the others to demonstrate a few other bits and pieces as well so that's the plan okay let's dive straight in so the first one we're going to look at is this one from joe mcnally so give a shout out to joe's instagram handle underneath there and each of the pictures that i've chosen um just hope to point out a different technique now of course if these aren't the kind of portrait shots that you do don't worry you can always apply these various techniques to your own work but i've tried to vary the kind of content we have and the various different features so it's a broad range all right so the reason for picking this one was a couple of things one to show you one of the new styles and two to give you a look at a nice little neat trick with making radial masks which is often useful in portraiture before we get to that uh base adjustments exposure brightness is all pretty good i'm gonna lift the brightness up a touch just to get a bit more mid-tone brightness the reason i'm not picking exposure is that the fella's fantastic beard here the highlights are already fairly brightish so if we pull the exposure up that's going to make that lighter as well and it's kind of at a nice density as it is so i'm just going to pull up the brightness a touch and then fly down to our levels here and click auto which will just pull in the highlights and shadow points at either end which gives us a nice base contrast as well and really that's all this photo needs in that respect in terms of exposure tonal adjustment and so on one adjustment you won't see me using a lot today is clarity generally because often skin tones fall into a mid-tone so if we start to add clarity it just pulls those tones further away adding more contrast and it's not necessarily super flattering like in this kind of shot if we added let's zoom out a touch a little bit of clarity in this shot it works okay but because clarity is mostly working on the mid tones you can see on his nose and around here and everything generally it's not giving us a good result so i tend to shy away from using clarity on portraiture unless you really want to accentuate some you know deep crusty dog features or whatever but generally we're gonna stay away from that now to finish this shot or almost finish it we've got a slight bit of skin redness here which we can get rid of with one of the new style brushes so on this photo we're going to look at quick fix using a style brush and then when we go to this shot down here with danielle then we're going to use the skin tone tool just so you can see the difference between the two of them but first of all by default you will find a new tool called style brushes normally in the exposure tool tab if you don't see it then you need to check your capture one version and make sure you're on a 14.1 because that's when style brushes were added what i've done is take out style brushes from my exposure tool tab and make my own custom tool tab just with layers and style brushes purely because on a laptop screen i'm starting to run out of room to fit all the various different tools in together so this is a way of just separating separating out these two if you're not sure how to make a custom tool tab right click and just say add tool tab and custom and the rest is pretty obvious and then you can just add whatever tools with a right click in that particular tool tab so built-in style brush let's expand these out and i'm going to grab red skin reduction soon as i click that it selects my brush cursor tool so i'm immediately ready to brush on my subject now that brush is a little bit too big because it's going to spill over into his eyes and things so i'm just going to right click and bring that down a bit and make it a bit softer now when you pick a style brush or when you make your own style brush you can also preset the brush size and parameters as well to give you that speedy extra step as well or save you having to do it manually now all i need to do now is start brushing and something to point out you'll notice that most of the style brushes that we made the built-in ones start with a very low flow the exception is the iris enhance which we might use today we shall see but they start with a very low flow so that means you can build up the adjustment slowly so having a low flow in this case it was around seven so that means as i brush it's going to build up the adjustment nice and slowly so it just gives you that opportunity to stop when the adjustment is enough but it also means that it builds up very subtly so when you're doing something like this let's just do a little bit more and a bit up here sometimes you might just want to stop turn the layer off and then see what's happening so you can see it's just taking out some of the redness on the bridge of his nose there like that simple now there's no mystery to what these are doing if we go to the color editor and the advanced color editor you can see exactly what that style brush is doing so it's changing the hue a bit and pulling the saturation down but it just puts all those steps together for you so you don't have to do it okay now what i really wanted to show you on this shot was a little bit about radial mask which are masks which are often quite common to use there is a vignetting tool right down here at the bottom and often this works great the only thing about the vignetting tool is that you don't have any control on where the shape starts and stops if you like the vignette and it's preset to which tones it brightens or darkens now it does a really excellent job so if you want to put a vignette on that's a good place to start but the reason why i'm not going to use it on this shot is if we pull the vignette down is that it's really starting to make these areas down at the bottom a bit too dark for my liking because these are already in shadow i don't necessarily want to make them any darker so using a radial mask gives us the ability to pick the adjustments that we want to apply on our radial and also do a clever trick with luma masking so i'm going to grab my radial mask over here where i start drawing on the photo that's where the mask is going to burst out from if you like dragging any of those corners will uh change the feathering so if i press m on my keyboard then you can see exactly what the mask looks like if i want to rotate it i can hover in the middle line and just pop it something like that and we can squash the shape or expand it by picking up any of those handles so there's my vignette pressing m on my keyboard so you can see the mask now you can use any of the tools to do what you want with that vignette generally i don't use the exposure tool why if we pull exposure down it's getting too dark down here because exposure will drop all the tones in the photo at the same rate so highlights mid tone shadows everything gets darker so choice number two would be to pull the brightness down and what brightness does is just drop the mid tone so the shadows will get less affected don't forget you can combine anything else or if you want to be super fancy you can of course find a curve and then you can pull down exactly which bits you want as well but another fun thing that you can do let's just pull down exposure for a second which is the one i said i wasn't going to use we can always move our vignette around so right now our radial mask looks like this now to see it in grayscale you can either choose grayscale mask here alt m so i'm going to hit alt m on my keyboard there's a little annoying bug that if you're already in the mask it won't flick to grayscale which we know we need to fix so just use option m or choose it straight away in that menu and then you can pick it up so what are we looking at here um oh thomas thanks thomas saving my bacon you just added the radial to your red skin layer damn it david um let's do that again so luckily you can see the uh red skin reduction once more but fortunately style brushes are so quick i did it on purpose just to show you how quick it is so let's uh come out with my radial mask uh sorry my grayscale mask do that quickly again brush brush brush see how fast that is make myself a new layer call that radial and now we can begin but you can see how fast it is using the style brushes thanks thomas thank god you mentioned that okay let's put the radial back where it should be i had it something like that looks good and we want to go to grayscale mask or actually i want to pull the exposure down first reposition that and option m grayscale mask thanks thomas all right so what we can do is put a luminosity constraint on top of that radial mask by simply telling capture one stay away from the shadows so if we grab our luma range button and i want to make sure we include all the highlights and just pull it this way a bit and cut out the shadows so anything that's turning black means we're not going to affect on our adjustment anymore so now it's protected so those darker areas and we could go up as far as we wanted let's do something like that so we're going to get our darkening in the white areas but those dark the black areas are going to stay untouched so let's go to something like that so it's going to protect those darker wrinkly bits in this shirt now with radius on zero this is a relatively binary mask there's there's not much finesse to it so if we bump up the radius this then activates the sensitivity slider forgot i've got my new toy uh the sensitivity slider underneath and what this does is change the behavior of how the edges are handled so if we go down to zero then it will feather that quite nicely if we go up to 100 then it will find edges so see how it snapped to all the edges now we don't really want to find the edges in this scenario we want to keep it a bit softer so i'm going to compromise around there so now we've still got our radial but we've told capture one to stay away from the darker areas and at any point we can always go back in grab our loom range and then we can play around with this you know to our hearts content so you can always go back in and refine it okay so now when we pull down our you know exposure if i just really pull that down obviously that doesn't look good but you can see the areas that it's protecting so now with a little combination of brightness and exposure we can get ourselves a vignette without killing any of those nasty areas and i see we've got a slight little issue there but as i said we can always go back into the luma range i'll probably just bump up the sensitivity a bit see how that halo disappears and then pull that down in that direction and then now we're good so that's the nice thing about the luma range it's not a permanent fixture so if you're using a radial think about what adjustments you're going to use and think about which are those best adjustments how they interact with the photo worst comes to the worst you can always play around with the loom range and with any layer you can always pull down the opacity to moderate it exactly how you want so if that's too strong we can just come back to something like that there we go all right um let's have a look at a couple of questions so thanks again to thomas for saving my bacon um and let's check other questions so i know diego is in the webinar room beavering away alan says why would you not reduce the highlights given the overexposure on the nose on his right cheek is it overexposed let's say it was overexposed to be honest but for you alan we can go to the background and then we could pull the highlights down a little bit actually it's quite a good example this photo look what happens when we pull the highlight see where it's acting on the photo it's doing his beard it's doing a little bit of his face if we pull the whites see how it's more restricted just to those brighter tones so alan as we're being nice let's pull down the whites a bit and the highlights a touch as well and then i would stop there cool let's go on to the next photo because i know i'm going to overrun because i did this morning so we're moving quite quick here so you can always watch the replay if anything's a bit too speedy right let's look at the shot of danielle so let's go and grab this one almost started editing the jpeg then that would have been interesting so we're going to look at this picture of danielle and then we're going to compare it to this one i know it's two different shots but it's quite a good demo of how dynamic range can differ between cameras as well or or how to play that tug of war with the exposure and the higher dynamic range tools so this is a shot from danielle cheval you can find her on instagram as well this is actually herself self-portrait one of the two self-portraits we're going to look at today and the reason why i picked this one out is because it was a good illustration of when it makes sense to pick a pro standard profile over the older generic profile now i won't give you the full uh pro standard spiel now if you're interested in the difference between pro standard or the improvements then i did a live broadcast two days ago with niels uh he's really the the brains are one of the brains behind camera profiling amongst the team of of guys and girls who who do that uh so if you want to know more about pro standard go back and watch that but one of the takeaways from it is the way the pro standard profile handles skin tones now in the base characteristics tool you'll always see that capture one will pick the profile for your camera automatically so we've got danielle's using a 5d mark iv and we can see the generic profile which is the default currently or we can flick to pro standard so i'm going to choose pro standard and what we're going to do is is put our before and after slider up and just have a look at well zoom in a bit closer have a look at the highlight on her fingers where it's very bright in highlights so in the previous profile what we would see is that when skin tones move towards uh highlight then they can get a little bit yellow when they go to shadow they can start to move to red but if we look at the pro standard profile so that's old generic profile and this is pro standard notice how it's a lot more neutral on the brighter areas of her skin like so so that's why this photo is a good example and it's also a good example of the previous shot where we use the style brush this shot we're going to use the skin tone tool just so you can see the difference between the two now it takes longer to use the skin tone tool but you could argue you also get a higher level of accuracy so let's start off by editing this now it's a little bit on the dark side the 5d if we bump up the exposure now i'd be mindful of not going too bright because danielle's edit we've got a jpeg here this is danielle's edit so she kept it moody and dark i'm probably going to go a bit brighter so we can see what the skin tone tool can do so if i pull up the exposure obviously obviously it's getting too hot here but if we pull the highlights down we can easily recover that let's just zoom in so this is zero and then if we pull down our highlights then there's tons of data there that we can pull back now we could go as far as sorry that there's this really frustrating bug there we go with my current wacom drivers sometimes thinks i'm holding down a modifier key so i'll try and click and it will right click or shift click or whatever and it takes a couple of seconds to disappear so if you see me erroring at any point then that's why okay what was i saying yeah highlights would i bring it all the way down to -100 probably not because if we did that it just looks super unnatural now that really doesn't look great so i'm just gonna compromise and go roughly halfway because we want that feeling of course that is a brightly lit sunlight window so let's do that so there looks good um i will open up the shadows slightly and i'm going to pull the blacks down just so the shadows don't get too flat i mean there's tons of dynamic range here but it was shot mean and moody so let's keep it mean and moody all right um no contrast or just a couple of points and no clarity again as i said before so again the reason why i picked this shot was mostly to talk about the skin tone tab of the advanced color editor in contrast to the style brush that we used earlier now all of us have some variation in skin tone it's very easy in capture one to pull it together to a target if you like so to pick your target skin tone and collapse everything to that target so the way we do that is in the color editor and the skin tone tab however i personally will always do this on a layer because it gives us much more control over the end result so we're going to make a new filled layer i'll explain why in a second called skin tone like so the reason why we're doing a filled layer so if i press m on my keyboard you can see why the reason why we're doing that is because first of all we can dial in the right adjustments for danielle's skin tone and then we can decide where to apply it now there's a quick and dirty way of doing it but again i don't think it gives you the same level of finesse so i will always default to this okay so we're going to go to the skin tone tab we're going to grab our color picker down here like so and we're going to look on our subject and decide what is my target skin tone what do i want everything to look like or be close to so i'm going to go just around here like so now as soon as i click we get this going on in the color wheel so the dot that you can see there if i just hover over that that is my picked skin tone now the range here this is the fishing net if you like of all the skin tones i want to catch and transform to that pick point now as i'm going to do this on a layer i'm going to be a bit brazen and open up this range as much as much as possible now of course there's a danger of picking up something that i don't want to transform to the skin tone but as we're going to change our layer it doesn't matter so i just want to collect with my color fishing net if you like all the incorrect skin tones so that they can be compressed down to that picked point which we just chose so now looking underneath we've got two banks of sliders we have the amount sliders which will simply change the appearance of the picked skin tone so if i suddenly desaturate then we're going to lose all the saturation if i suddenly open up the lightness the skin tone is going to get brighter but these sliders have a relatively narrow range so they're meant for subtle small adjustments now these three sliders are different so the further you drag them to the right the further everything in that triangle gets pulled to that target point and it becomes very obvious on this shot which is why it's a great example if we drag q to the right you can see all the colors come into line including her lips which we don't want so we're going to fix that but from 0 to 100 you can see that color range compressed down to that picked target so let's pull up saturation as well that would just mean anything that's more or less saturated will get brought together to that pick target and the same for lightness which we're going to be careful with because it would just flatten off any lighting so we're going to keep that relatively low so now we can see if we turn that layer off so we're just doing the check box over here if we turn that layer back on we can see what's happening if we go down to danielle's arm i think there's also a bit of a correction there as well so it's working over the whole shot but obviously we've got some under desirable effects that it's affecting lip color it could affect makeup and so on so we want to put the correction at our discretion if you like so first of all we're going to right click on our skin tone layer and say clear the mask that will get rid of the mask but keep our lovely adjustments that we just made then we're going to grab our brush go over here right click let's pull the hardness down a bit so it's nice and soft and maybe the size and we're going to keep the flow nice and low again because what that means is for an area that needs more correction we can brush more for an area that needs less correction we can just do a couple of brushes so if we go around here back and forth again it's going to happen pretty gradually so you might want to stop every now and then turn your layer off see what's happening yep we've got a good result do a little bit on the bridge of the nose like so and then just down here and then if we go to daniel's arm then we can just fix a little bit down here as well and so on so you can brush this correction in anywhere let's just make a small correction here as well like so now if what i could have done if the skin tone here was like a vastly different or if the target skin tone was going to be a vastly different target to elsewhere there's nothing to stop you making another layer and doing the same thing so now if we turn our skin tone layer off and back on we can see the correction now there's no reason why you can't combine a style brush here as well in actual fact i don't like that i went so bright in the shadows so i'm going to darken that down a bit but if i just want to lift the right hand side of danielle's face we're going to use a nice speedy style brush we're going to grab dodge for brighton and then as soon as i start brushing on the photo makes a new layer like so sets up the brush parameters sets up all the settings all of that is super speedy and then i'm just going to do a couple of little strokes there nothing much and then zoom into her right eye make this smaller and now i'm using a new shortcut or newest shortcut which i'll show you in a second and then just open up her right eye a bit and her left because it was just a little bit on the dark side so that shortcut to do the speedy brush adjust is simply control option on your keyboard or ctrl alt if you're on a pc and then where's my cursor and then when we drag left and right we change the size if we go up and down we change the hardness like so if you're on a pc you need to right click with your mouse and then do the drag and if we do shift control option like so spider fingers and do left and right we get opacity up and down we get flow so that's a much faster way for adjusting brush size than right clicking and bringing those parameters up so just remember those okay so that's where we're gonna leave danielle as i said the main purpose was to show you the comparison between let's get rid of the keyboard show you the comparison between quick fix with the style brush more intense highly accurate fix with the with the skin tone tool um the reason why let's just look at our grayscale mask option m so again keeping the flow nice and low means that in this area i didn't brush as much so there'd be less of a correction here we did a little bit more um here is kind of in between and so on and always don't forget once you've done your corrections you can always go back through your layers and then play with the opacity and balance it out again as well all right um let's have a look at a couple of questions great question from jose can i move the pick skin point in the color wheel or do i have to pick it once again no the good news is you can move it so if we just do something silly for a minute if i pick this up this really demonstrates what the skin tone tab is doing so if i were to drag it over here you can now see danielle's skin tone change immediately because it's pulling all those skin tones or everything in that color wheel to that point so if i just put it back to something more sensible then you can see the correction but you can essentially pick the skin tone that you want all the picker is doing is just choosing something on the subject that makes sense to gravitate towards okay blake says loving the new style brushes nice and love your work as well blake that's for sure check blake out because he's got some fantastic shots okay the next one we're going to look at was how we doing for time good i'm faster this morning we're going to counteract that with this nice environmental portraiture oh that was danielle sorry john mcdermott with some menacing looking italian guys but i like this shot because it's got the nice environmental parts of it and it's a good comparison over just a difference in dynamic range whether that's because of exposure or camera model or whatever don't need to get into that but this is a good example of a slightly different approach of pulling the sliders around so this one's been edited so let's just reset everything so that's how it comes out of camera there was an interesting [Music] article i saw the other day a 10-step approach to editing in capture one which followed a step one step two step three step four i personally don't believe in that approach because i think every photo is different if i was to follow any steps it would be crop and rotate first fix the exposure and then it's a free-for-all after all that so with this shot with that in mind i'm going to grab the straighten cursor tool up the top and we're going to pick the woodwork along the back just to get our reference point so let's go for that and then also just for the ocd and me to straighten up the door i'm going to grab the vertical slider on the keystone tool and then we're just going to pull that that way a touch just so it straightens up that doorway probably unnecessary but why not uh crop wise i think i'll crop out the leading edge of the table because there's a little highlight there i love the fact that we've got a coat and a hat and more menacing looking things going on so that's a good start point now for this shot if we look over on his shirt on the right hand side obviously it's a little bit too dark overall so if i pull up the exposure we can do so but relatively quickly you see we're starting to lose highlight detail on the right hand side so personally i would then think well what makes more sense what about if we lift up the brightness is that better if we lift up the brightness and the shadows because it's predominantly shadow that does a better job of just pulling up exposure and if anything if we now look at the highlights i would just pull them down a little bit so whereas in danielle's shop we had quite a lot of wiggle room on the highlights for that shot on this one there's slightly less so this one would then cause me to just lift the shadows and because the shadows can make it a bit flat and boring we can always pull the blacks down and that will darken those very deepest blacks so to remember the difference between black and shadows is that the blacks only operate on the very end of the histogram the shadow slider is if you like the lower 30 percent highlights operate on the top third and whites operate just at the very brightest like the top five ten percent so white and black gives you very confined control over the end points good comment from anthony i've found luma curve to be more precise as opposed to brightness absolutely so brightness does a nice mid-tone bump but if you really want to dial in let's do it actually if you really want to dial in a precise change then you can of course use the luma curve so if we start with the 5.0 channels then we can decide exactly which areas we want to brighten darken and so on so i personally would still go for a bit of a shadow lift like we've got here that doesn't matter in that respect so let's lift up our mid tones and let's bump up brightness a little bit as well and probably ease off on the blacks slightly now it looks a bit cold so let's warm it up slightly that's better it wasn't really the cozy atmosphere i was going for and the other reason for looking at this shot was to also think about color grading on a layer and we're going to do that with brandy's photo as well brandi's is basically going to be a sum of everything that we've looked at today pretty much but for this one we do a quick color grade and also we can lift this slightly darker area of his face as well as he's just slipping into a bit too much shadow so first of all if we want to color grade using the color balance tool and as i said we do this again with um brandy's picture as well but i find color grading makes sense to work on a new filled layer so let's do that and we call that color grade look at me i wrote it in american english then i'm slipping with color grades so used to typing color for web stuff spell in the other way so that's a filled adjustment layer so let's go and find our color balance tool and really for these guys um i would prefer just in the master just to add a bit more warmth counteract that with the shadows going in the other direction so you can see the more i pull that we can see what's going on so it doesn't need much just a little bit and maybe just to make sure the mid tones keep their worth as well and the nice thing about having it on a layer is that you could always play around with saturation as well so let's take a bit of saturation down and increase our master overall so i'm pretty happy with that and as i said the last thing to do he's just you know five percent too dark or whatever he looks pretty good nice modeling uh menacing face but it's just ever so slightly too dark for my liking so we're gonna do a quick fix with a brighton style brush so i'm going to choose dodge go over to the shot use the shortcut key to make this smaller this one also as you can see has a nice low flow and then we're just gonna one two three four is probably enough to lift that up and then maybe just one two strokes on that side and then if we zoom in a bit and now turn that layer off before and after like so again looking at this dude let's check his dodge out before and after so just a little tiny lift like so not much but enough don't want to vignette this one because i like the accessories and the painting and the guns on the wall so we're going to keep that as normal if we look at before as we had it in the camera so that was just an exercise of opening up the shadows using a luma curve fixing the dark side on his face making sure the highlights are controlled and then a little color tweak at the end of it as well let's go to a couple of questions i think we're pretty much well handled actually um matt i just saw matt's comment there is there a good way to call shadows while retaining a pure black shadow you could actually map with a luma mask so so on that layer that we did the color grade layer what you would do is do your luma range but you would say everything except the darkest blacks and then that way the very darkest blacks would not be affected so if we actually what does that mask look like so if we bring back luma range again so if we pull that up so we can see those are the very darkest areas you might want to play around with the radius and a bit just to make sure it's soft but if we did that and then now our color grading would be absent from the coat so if we go back to the shadows and just massively pull this over it doesn't have as much of an effect as you can see on the back wall so that's how you would do it matt that's actually a really awesome question matt i'm glad i i caught that one it wasn't in the q and a tab so minus brownie points for that but that's a really nice trick for color grading actually a question from dave in the webinar room if you use a tablet with pen pressure do you use the pen pressure option or do you prefer to leave it off i don't use it to be honest dave i'm not finessed enough to be able to do it and to be honest if we bring up the brush and right click having a low flow means it's just a gradual build up and then you don't need the manual dexterity to worry about pressure and also the tablet i'm using this one this one here is a wacom intuos pro which has you know billion levels of pressure sensitivity but you can buy a wacom one which is the worst product name ever sorry wacom because when you say which wacom do you have and you say i have the wacom one you know which one and you have that endless ridiculous conversation loop but the wacom one is a you know it's a great deal uh i think it's under 70 euros dollars or whatever but i don't believe that has any pressure sensitivity so it's no good to you in that respect anyway but keeping that flow low means that you get all the versatility anyway okay um drool good job i was out of shot then drinking problem um let's go to the next shot so who was i going to do next i think we were going to do a black and white yep let's grab this one and the reason this is from my good buddy kish um this converts really nicely to black and white so that's a reason for picking this one and also there's a couple of other little tricks that we can do and we can also look at the heel brush as well so first of all if i was to decide that i want to work with something as black and white the first thing i would do would be to enable black and white now if we'd already edited this shot in color then my step would be to make a virtual copy by way of a clone variant might as well try and clone it and then convert to black and white and just judge if that made sense or not but now that we've enabled black and white the color channel sliders down here forgot i've got my new toy again the color channel sliders change the density of those colors now this is predominantly skin tone of course so there's a high chance that the red slider is going to have the greatest effect so if we pull that up or push it down you can see the reds getting brighter and darker now i'm not going to go crazy with it because we're going to fix most of this with other sliders suffice to say there's probably not a lot of green sign blue magenta in this shot so depending on the content of the photo like if we go back to joe's shot obviously if we convert this to black and white looks pretty good this slider is going to have a lot more of an effect the green slider because there's a bunch of green uh in the shot this one i think down here there's potentially a little bit yeah so i could just darken that down if i wanted but how active these sliders are wholly depends on the content of the shot so now let's think exposure wise it's a little bit on the dark side i would prefer this brighter but her hair is actually a really nice tone nice contrast so we need to be a bit mindful not to ruin that but i will lift up the brightness a bit being mindful of the right hand side let's make sure that doesn't get out of control and to keep some nice depth and contrast we're going to pull the blacks down the rest we're going to just dodge our way out of that just to lighten it a little bit and also hands as well what we could do i don't know if this can this will work well enough i tried it this morning and i wasn't sure if i was totally happy with the result but let's go again if we grab the grad filter over here let's go over to our shot draw on the photo where i start drawing is where the mask is strongest where we finish drawing that's where the mask has faded to zero now by default it will be symmetrical so if i press m on the keyboard you can see the fall off if i want this to be a harder fall off you can hold down option on your keyboard so you just need to hold option whilst you drag the top line down and then we can change the fall off so now if i do that and then just pull up the exposure and brightness to touch then i can just lighten our hands up as well so if we turn this layer off you can see before and after like so and if we need to tweak this let's pull that down a bit then we can do so so that helps a little bit i'm going to stick with that probably gonna crop out the bottom a bit bit too much negative space so let's go for that all right um the other reason for picking this shot is a little chat about sharpening now generally and if you watched any webinar live session you very rarely see me play around with sharpening mostly because i personally believe the defaults are actually pretty good one thing just to keep an eye out for portraiture and it the same applies for brandy's shot as well because that's banging focus and super sharp is that often the default might be a bit too much for a portrait so if anything i just slacken this off a little bit if we want to add some detailing at a later point then we can do so with the layer with the style brush or whatever and on the features that that would require it so i'm just going to pull this down a little bit because that's plenty plenty sharp enough i mean we can see every strand of hair and eyelash and everything so let's uh let's stop there okay zooming back out again um contrast wise again i'd probably let's see what happens with clarity it just doesn't generally look good because it's really acting on the skin tone and it's just going to make any change in density more obvious so what i want to do is make this a bit more high key so a good old dodge again so let's grab our dodge brush and we're going to go much bigger like so as soon as i start brushing capture one makes me that layer so all automated which is great and then i'm just gonna gradually lighten up this area a little bit as well and if you go too far don't forget that we can always pull the opacity back a bit or if you switch to your eraser or e on your keyboard but you can choose it here and you've clicked this link pair eraser with brush it means that as soon as you switch to your eraser it's going to keep all the same settings so you can build up your layer or reduce the layer at exactly the same rate just by switching to the eraser so now that i've gone to eraser then i can take a bit out if i press b on my keyboard for brush then i can add a bit more in i'm actually going to leave that slightly darker area there and stay away from that just brighten up her hands a little bit as well like so and then again turn your layer off and then you can see what we've done now zooming in to 100 sorry s um i'm going to grab the heel brush and just pick off well that's way too big and just pick off a couple of these points here wacom stuck on right click again let's try that there we go um what do we got for flow let's bump the flow back up so it's actually working sorry let's try escape there we go it's finally that that sticky modifier key bug was one that was present about two or three years ago and i haven't seen it since until i updated my driver which is a bit frustrating but there we go so now we're just going to pick off a couple of these points you can have an unlimited number of points capture one will automatically pick that source point for you as you've seen it's very easy to use that shortcut to change your brush size um once again maybe it's my keyboard that's sticky but i don't think it is it doesn't appear to be there we go fixed and last couple you don't want to watch me do endless amounts not that it's needed if you move the cursor key off the viewer then the arrows disappear if you're doing a lot of of fixing then you can always hide the display arrows here as well but i find if i need a quick look i just take the cursor off the viewer have a check and then see if i need to do anything else so that's pretty cool and the last thing that this photo looks really nice with is film grain so film grain isn't applied on the layer it will always default to the background but let's choose a bit of soft grain let's float the tool out so we can see what we're doing impact is how visible the grain is almost like an opacity if you want to think of it that way and granularity is how grainy it is so i'm going to bump up the grain a bit like so and i think that pretty much does it do i want a vignette i think the answer is probably no but let's have a look regardless nah don't want a vignette so if we look at before and after black and white conversion very simple remember those sliders in the black and white tool wholly depend or their sensitivity wholly depends on the content of the photo a little bit of a dodge just to lift up the side of her face that was in shadow a few little spots not that she really needs it fixing and um away we go so nice simple edit let's check uh the questions um do i use a mouse together with your tablet now i never i never use a mouse at all actually i use a tablet in daily life i just find it more comfortable ergonomically this mouse this oh sorry wrong camera this mouse is actually connected to another computer over there which handles some live streaming stuff which i won't bore you with but generally no i never use a mouse uh let's check for questions over here good one from otto in the webinar room what's the difference between brightness plus and dodge brighton same question we had this morning dodge brighton does a number of things and there's no secrecy to it if we select the layer and look what's happening it's got a little plus two exposure bump if i remember also a little curved shift as well so it's doing a couple of things in tandem all brightness plus does is bump up brightness so brightness plus is a good mid-tone tweak but dodge will actually open everything up to a lesser extent but still with some highlight protection as well but good question um alan says when converting to black and white best to start from scratch not necessarily like we saw with joe mcnally's shot you know that actually looks pretty nice black and white just by ticking the box so and we've you know the fact that we've reduced redness would probably help because if we pulled around the sliders um then it you know this reddit area might have had more of a change and so on uh if we look at these dudes if we just turn on black and white it's not bad i'd probably add a bit more contrast and so on but if you think i'm only going to do it in black and white then yep we can start from scratch can you bring warmth into the black and white frame yes you can so what you can also do is if we add a new field adjustment layer you can actually use the color balance tool so you'll see if i just pull the sliders around or go for the master tab then you can influence the shot as well so if we wanted to you know do that whatever just to varying extent then we could do so as well so you can triple tone using the color balance tool which is also really nice is there a hotkey for showing hiding arrows in the heel layer i'm pretty sure there is actually so if we go to if you ever want to know if there is a shortcut for anything go to edit keyboard shortcuts and just type a few logical things in the search term so if i type arrows there you go display healing clone arrows so yes you can put a shortcut for that okay how we doing for time let's finish off with uh brandy i would say and then i'll just give you a quick look at the styles so say hi brandy i think she's hopefully still online so let's reset no let's make a new uh variant so we've got brandy shot let's bring up brandy's deets on screen so follow brandy at brandy nicole photo brandy's also got a youtube channel which she goes through full edits as well so you can also see her working capture one and also moving on to post-production as well so first things first we're gonna straighten this up a little bit ever so slightly not that much so just to tweak and i'm gonna crop out the v-flats because we're not gonna retouch so let's go and crop out the top one and the bottom one like so and go a little bit tighter down here so that's where we're going to start from now once again if we zoom in close sorry brandy then same thing applies this is really nice and sharp focus is spot on so i'm just going to back off the sharpening a little bit if i wanted to then we could dial a bit more back in on the features or we could sharpen our hair on a layer you know doesn't really matter but but the default it's just a bit too much for this application so let's back that off a little bit before we do anything else exposure's pretty good brandy let's just go slightly ever so slightly warmer or maybe not that much tiny bit warmer if you want to do a tweak we can just use our cursor keys or we can use speed edit i saw someone sorry i missed your name says um why am i not using speed edit mostly because you guys can't see what's happening if i'm using speed edit but we do it when we show you the styles then it's hard for you to follow but otherwise i use speed edit a lot okay um what did i do with this photo let's just bring up the brightness a tiny bit sunny day so i wouldn't bring down the highlights because that just kind of ruins the fact that it's a nice sunny window and it's not burning out so i'm safe to bring up the brightness a little bit we might control the highlights here if need be but there's already some natural framing from the light so let's improve on that by making this bit darker so once again for speed we're going to grab where are we burn darken make our brush a little bit bigger once again this is also set with a nice low flow by default so let's just darken down this area just to build on that natural framing which already exists so i'll just go a bit more into the corners now i probably did a better job of this when i wasn't so rushed but you get the idea and a little bit there this area actually if i just do a quick wipe over there and there we can also bring the highlights down a bit as well so that's better okay so next thing we're going to do is we're going to do the skin tone trick again although it's pretty sorry brandy it's actually pretty even to be honest is it worth it let's just do it quickly so you remember the technique so step one new field adjustment layer step two go to our color editor skin tone tab grab your picker this one here go and pick a good desirable skin tone so let's go there like so widen out your color fishing net that's our target color remember and then pull your hue sliders across and you can see the negative effect is that it's affecting brandy's lips so we don't want that let's pull up saturation and be a little bit of the lightness but not too much so that dials in our correction now i can right click and say clear mask grab a brush it's probably enormous let's make it a bit smaller and then the areas that we're just going to brush on is just pretty much around there i think your arm's pretty good yep like so just to fix that bear and a tiny bit down there as well so that dispenses with that let's grab the healing brush like you saw earlier and just pick off a couple of points like that i think we can probably also get rid of the highlight don't be mad at me brandy there's a little bit of a highlight there so can we remove that with the heel let's see hasn't picked the best point but remember we can always pick it up and shift it so i'll try for something like that there we go that's better it's just taking that highlight down and let's do one more right there as well oh sticky cursor key again or sticky modifier key there we go that's it so that stops with that perfect and then we were going to do something with the hair as i remember so as i said clarity not great for skin just pulls around the contrast too much but it does look nice on hair especially if there's a bit of gloss so we're going to make a new layer and call that hair gloss and this time i'm just going to be speedy and we're going to do a rough or a fairly rough mask with max flow so flow's gonna and opacity are up to a hundred and then we're just gonna brush uh on the hair like so not being especially careful as you can tell let's just make sure it's not going on the skin we don't want that just nibble a bit away at the edge so now we've got a mask just on the hair so what we can do for that is just throw in a little bit of extra clarity nice and slowly just to get a bit more shine on it and be mindful we don't want to lose the highlight so if i turn this off and then back on then you can see the difference that's probably a bit strong so let's just back that off slightly as well so that gives us a nice effect highlight may be a bit strong here so we could either go back to our darken layer and when you switch layers the brush will always remember the settings for that layer as long as you have the link brush with layer box ticked this is a really handy feature that is kind of a bonus feature from style brushes that if you tick it notice how my brush changes size like so so if i want to go back to my burn layer and then just darken this area down a bit then i can do so and i don't have to think oh do i have to change the flow back again and so on and so forth and then finally we're going to add a new field adjustment layer we're going to call that color with a u grade like so and i wanted to pull the saturation down a bit and i think what i did yesterday was we had something maybe not that much something like that kind of thing just a slightly overall warmer look a little bit more monotone slightly tealy highlights like so and we can mess around with that forever but that's the lovely thing about the color balance tool is that it's just plug and play what you see is what you get there's no science involved it's just dialing the colors that you like so um if we hit y on our keyboard for our before and after that's as it came at a camera and then with the few little tweaks like so and of course once again you can always go back through your layer stack and decide was i too strong anywhere and just dial back those adjustments if you want noah remove the you from color right now but the the british and the canadians will be upset so um i'll alternate week to week all right um i don't know how this compares with the other ones i did so three brandies in a row and you know it's very hard to edit exactly the same each day but relatively relatively close so the last thing i want to talk about let's take how we doing for time oh slightly almost over on let's make a new variant from this so back to scratch and if we have a look at styles we've got a couple of new style packs which came out today like little mini style packs uh we've got the lifestyle which you can see down here which is based on you know nordic color toning i guess you could say each one has three contrast variations that's why there's one two and three and there's also an editorial pack which is inspired by inspired by nordic editorial color grading so it's got some nice color grading in those as well so a really speedy edit for this one will be so let's decide which one i like let's go for oslo 2 quite like that now someone mentioned speed edit so what is speed edit if you're not aware essentially you can hold down a shortcut key on your keyboard so you'll see now if i hold down a on my keyboard if you look down the bottom i can't highlight and speed edit at the same time the highlights show up and then all i need to do is just drag on my photo or use the scroll wheel of my mouse and then anywhere on the photo becomes a giant slider so let's hide that view so i would just pull the highlights down a bit to make sure his beard is okay grab a style brush red skin reduction zoom in a little bit just do a few strokes over here like so edit done like so so apply style quick speed edit quick style brush really nice result the only other thing i i might do is just open up the shadows a little bit as well whoops not on red skin reduction on the background so let's just pull the shadows up using a speed edit as well and finish off with a crop so that's the new styles nordic editorial and nordic lifestyle we throw up a link in um youtube and facebook so you can find out about those as well but really super nice little simple pack if you're in the webinar room i just put a link up on screen for you as well that you can follow so hopefully you should see [Music] a little link pop up in the webinar room as well if you don't then let me know okay let's finish off with a first cup with the sorry the last few questions brandy says oh my god how did i not know the speed edit shortcut so there's a bunch of tutorials on speed edit if you have yet to see it if you go under edit keyboard shortcuts then you can find all the speed edit keys and you can also create your own so even just for white balance you know kelvin if i hold down one on my keyboard i've got the kelvin slider drag anywhere on the um screen and that turns it into a giant slider wherever i drag so i can drag left and right up here i can drag left and right down here i can two finger scroll on my trackpad i can use my scroll wheel mouse or i can use the cursor keys so there's plenty of different ways that you can use speed edit and of course you can also do it on a bunch of pictures so if we not a black and white if we just select these few try that again let's just select these three so if we've got three on screen and i want to warm everything up by the same amount hold down one on my keyboard and notice we get the kelvin sliders under each one one behind my head and then drag anywhere on screen and then they're all changed by the same delta amount so it's a you know great way of a speed edit funnily enough the clue is in the name so let's just bring up the shots that we edited today stick those on screen and last question what's the difference between the new lifestyle and editorial nordic new styles so have a look on the website i think is my best advice because there's quite a few examples up there so the editorial style has a bit more color grading in there that's that has its inspiration from editorial looks uh that you often see you know scan scandinavian magazines and things and then the nordic style again slightly less color grading inspired by the nordics muted color tones they're just a really really nice style pack to be honest but have a look on the website you can swipe through some different styles all right um steven says where do i learn more about speed edit so if you go to our learning hub learn.capture1.com you can find the tutorial up for it there as well it says i prefer you in color actually my saturation is down a bit so i could i could always saturate myself as well there we go um just checking the webinar room for any other questions and let's what's the cursor toy did i say cursor toy not cursor key cursor key i am sorry um do speed edits work on older keyboards yep works on any keyboard so it's not keyboard dependent so i think you're referring to an old colored capture on keyboard we had but no this is a logitech keyboard works fine on that works on an apple keyboard laptop doesn't matter all it does is just pick up that long key press let's just check the q a tab and i think we're pretty good oh last question good one from amber actually why does capture one have default noise reduction at 50 50 50. also a good question so these values you see here 50 50 50. this is what we determine as the best compromise between keeping details and removing noise so it doesn't completely obliterate noise like on a super high iso shot we don't none of these are super high iso so i can't show you but it's the best compromise between detail and noise reduction now 50 sounds a lot but think of that as almost that zero start point depending on the iso that we're working with as well there might be other stuff going on under the hood so for each iso then there's careful tuning for noise reduction as well so don't just because it says 50 don't think that's a really high amount it really isn't um if we just bring up what's our noisiest shot it's probably this one if anything because it's iso 400 if we look into the shadows let's open up our shadows a touch so we can see what's going on so there's a little bit of noise it's probably hard for you guys to see but it's you know relatively clean but it's not overdone if i pull this down to zero then we can start to see the noise creep back but at 50 it's not really losing you're not missing out on any detail is the best way to say it so really think of that as a zero any raw converter will put some kind of default noise reduction in the difference between capture one and other raw converters is that every camera has its own bespoke sharpening amount and noise reduction amount so it's tuned to your camera so just don't be too obsessed that it says 50 it's a pretty good balance but if you want to have less you can dial them back and then you can say save as defaults for my particular camera and that will give you a new default alright so don't forget to go and check out those uh styles once more thanks to all our photographers again so that was joe mcnally we can spotlight you um john mcdermott brandi nicole as starring as herself danielle siobhan also starring as herself and kish saw as well so thanks guys webinars are only possible with your photos so thanks again for joining us don't forget if you're on youtube and you want to be notified of when we're going online i've got my fancy new animation courtesy of victor if you click the subscribe button in youtube and the little dingly bell then it just means when we go live you'll get a notification on your phone computer or whatever when we go live and half an hour beforehand so that way you're never going to miss out thanks again for joining me today thank you for being great online in the questions and comments so see you all soon take care bye now you

Channel: Capture One Pro

Views: 21,351

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: UiIRX9hI9OY

Length: 73min 30sec (4410 seconds)

Published: Thu Mar 25 2021