Capture One 21 Live | New to Capture One 21? Hit the ground running!

good morning or afternoon everyone welcome to today's webinar let's turn the snow off that's quite enough for that so thanks for joining today uh the purpose of this webinar uh is to deal with if you're new to capture one or if you're currently in the midst of your trial just to kind of give you some tips and tricks and ease the starting process into using capture one um we're going out to our webinar and we're also going out to facebook and youtube so there's a lot of people in various different locations so i'll do my best at trying to answer as many questions as possible before we get started time allocated today is roughly 60 minutes that's pretty much bang on what we managed to do this morning when we did exactly the same broadcast for those of you in the webinar room uh feel free to pop your questions in the q a tab my buddy from capture on diego is also with me in the webinar so you might see somebody else answering some of your questions as well but put the questions in the q a it's just easier for myself and diego to see them aside from the chat if you're on youtube or facebook i will hopefully be able to pick up some of those as well also if you're in the webinar room and you want to hide that area and get a bit more space with capture one then you can do so just by clicking that little down arrow so let us begin and look into capture one so what we're going to do today is just follow the best we can a simple workflow so we get some photos into capture one talk about the import process do some basic edits explain what some of the basic adjustment tools do edit two or three photos to give you an idea of how all of that combines together and then the last step of the process of course is to export out some photos to tiff jpeg and all those kinds of things um that's pretty much the the plan obviously this is an introductory session so we won't go into massive detail about every single aspect the point of this is just to kind of give you a bit of a head start and find the whole startup process easier so without further ado and to stop me waffling on anymore let's immediately jump into that so what i'm going to do before anything else is we're going to close this catalog down and we're going to make a new catalog as if you were doing it yourself get some photos into it and then talk about the interface because it's kind of hard to chat about the interface when there's nothing in it so let's close this one down and like any of you can do at home if you want to make a brand new catalog to start working in capture one up in the file menu we can say new catalog and for those of you who are used to lightroom this is an identical concept as a lightroom library so let's call this webinar pm like so and that gives us a brand new empty catalog now i did that a little bit quick so just so you know by default that goes into your pictures folder if you want to change the location of where your catalog sits you can hit that button there but this is just simply creating our catalog which is now ready to get some photos into it now hopefully you can see the enormous large import button in the center of the screen hopefully you don't miss that one which is a good clue as how to get some photos into our catalog so we'll do that first and then we can talk a bit more in a bit more detail about the interface itself so let's go ahead and click that i'm going to reset this dialog so it looks exactly how it will do when you go into it so you'll be presented with a blank interface like so which is where we deal with what images do we want to pick to go into capture one and what do we want to do with those images essentially it's starting at the top left hand corner over there and working your way down through those different tool palettes so the first thing we need to do is to choose some photos so let's click choose up here and i'm going to grab a collection from let's go for russell's in australia and straight away capture one is going to populate that window with the contents of that folder now when you're choosing your photos you can pick more than one folder so if i just go back into there for a second and i was to shift select a few folders so where's russell russell's here so if i shift select russell and the two ryans and say review for import then that would show me the total contents of all of those photos like so so you can look into more than one folder at the same time now if those folders had subfolders in we could also include those subfolders now in a demo you don't want to watch me importing hundreds and hundreds of pictures so let's just go for russell's pictures and right now we can see at the top of the screen that's a total of 48 pictures by default all of them will be chosen for import and you can see the little tick bot next to them that they're going to be picked up now you might not want to import everything so what we can do just down to my left here on the screen you can see the pick all box so if i turn that off then straight away that means that none of those are going to be imported so now we can go through and choose which ones we want to import there's a couple of different ways to do that by far the easiest way i've found let's just bring up overhead cam for a second is if we click on a photo tap the spacebar then that puts a tick box next to it so i can go through and then just quickly tap my space bar and then add any photos that i want to like so you can also use p for pick and x for reject so if i tap x now then that's going to take that one away but personally i find let's just hide that now personally i find using the space bar is by far the quickest way just to whiz through and pick those photos let's hide my head so you can see the important button down here in the right hand corner which says import x number of images let's do just a few more than that so it's a little bit more realistic so now we've picked 13 shots so that's unlucky i'm superstitious so let's go for 14. so once we've chosen the photos that we want to import the second part is what do we want to do with those by default it will say add to catalog so that means the photos are going to stay exactly where they are they're not going to get moved or copied or anything like that they will stay exactly in that location capture one will know how to access them if we were importing from a memory card of course it wouldn't make sense to leave them on the memory card that would be crazy so there's a second option here which is copy to folder so then we could define a folder where we want to take them from the memory card and put them into a safe place on your hard drive or hard drive somewhere so we're just going to say add to catalog all the other stuff here i won't cover today as again this is just an introduction but that basically allows you to change the name add some metadata add some adjustments kind of more high-level things which you're probably not too bothered with at the moment so let's go ahead and say import uh 14 images down here in the bottom right hand corner so straight away those images start popping in that will happen pretty quick let's just open up one of the first ones like so and now we're ready to start working on our photos and have a little look around the interface before we do that let's just have a quick check of questions uh diego's on the ball there so thank you diego um mark actually on youtube asked can we talk about catalogues version sessions catalogs versus sessions i will super super quickly what we are looking at today is a catalogue which is very similar to a lightroom library no different to that a session is something unique to capture one which is a different kind of file management if i'm gonna easily explain the difference between the two a catalog is great if you have a large quantity of photos that you want to manage where there's tons of different ways of organizing keywording rating tagging adding metadata organizing in collections that is ideal for a catalog if you have a shoot to do which is one single project then a session is designed for that so if i was going to go into the studio tomorrow and do a shoot i would make a session if i was going to go out on a landscape trip the day after then i would keep that as a session mark if you go back through the back catalog of webinars you'll find an entire webinar devoted to catalogues first versus sessions so and hi to joe hi joe nice of you to join us good to see you all right so we've got some photos in capture one let's talk a little bit about the interface the helpful thing is is to think about the interfacing capture one is divided up into different sections so if we take those sections we've got tool tabs on the left where all our different adjustment tools are we've got the viewer in the center which is where we can see our photo obviously which is the currently selected photo in the browser over on the right hand side and up the top we have the toolbar with various buttons that we can turn on and off for exposure warnings grid before and after view action buttons that do something and then in the center are the cursor sorry cursor tools which change the behavior of what the cursor does and we'll look at those in a bit more detail as well now when you first start capture one you're taken through a startup process which will ask you a couple of questions like where do you like your tools where do you like your browser and ask you what position you would like those to be in so the view that you're looking at now might be a little bit different to what you see when you first open capture one based on those choices in the startup process if you want to play around with the interface you can do plenty of customization i won't talk about all the possibilities because we could probably do that for an hour but if you look in the view menu notice that those sections that i spoke about the toolbar the viewer browser tools are listed here each one can be hidden or shown with a shortcut key next to it and each one has a customize option underneath so let's say you prefer to have your tools on the right hand side so i can go in and say place right and then those are going to shift perhaps you prefer to have your browser along the bottom so i can go to browser and say place below and change that with the small icon down here to a film strip so quite a lot of potential there now if you've messed around with your workspace don't forget to save it from the workspace menu so you can always return to it and if you make a complete mess of it and want to get back to the start you can always return to the default have a look through that menu and see what's possible don't worry if you mess something up because just returned to that default as i said before now what's possible over on the tools area is also pretty extensive the tools are divided into their tasks or characteristics so we've got exposure based tools color based tools as an example each of these tool tabs can have a scrolling area which you can see down here and a fixed area so if you want to lock some tools at the top like ones that you use regularly you can do so if i wanted to change my exposure tool out of the scrolling area to the fixed area it's just a simple drag and drop like so if we bring this back down and then i can rearrange them i can have a floating tool and so on if i want to add a tool to any tool tab i can right click and say add tool and equally you can remove anything as well so if there's tools in there that you're not going to use just get rid of them then it makes for a cleaner less cluttered interface so if you're never going to shoot tethered in the studio there's an entire tool tab devoted to tethered capture right click get rid of it just free yourself up some more space so have a look in the view menu see what's possible for customization make an environment uh for that makes sense for you and start from there so we imported in some photos so what actually happened to those so let's look in the very first tool tab and this is really where you manage your collection of photos now capture one is different to lightroom in that lightroom has the different modules like library develop maps and so on you can do anything at any point in capture one so it's like a flat workflow in that sense but the first tool tab is devoted to managing your collection of photos so right now we can see if you remember cast your mind back five or ten minutes that i imported this folder of russell's files like so if we look in my finder so let's just bring up that location all capture one has done is just show me the path to those photos because if you remember i said add to catalog so it's simply adding to the catalog and showing me in this folder i imported 14 files from there if i was going to do another import let's do that let's say import let's grab a different folder of shots so let's just go to chris why not let's just grab some of the top row so i'll use my spacebar again just to pick a few shots add to catalog so they're not going to be moved they're going to stay exactly where they are let's import those seven and now i can see i have chris's folder of seven shots and russell's folder of 14 shots up at the top of the library tool we can see that we've got 21 images in total in this enormous catalog seven of them were imported at this time and date and 14 were imported at this time of day so recent imports will show you the last 10 imports that you made if you want to quickly get back to it folders tool i said shows you the exact location user collections is where you can get a bit more smart with your organization and make things like albums smart albums projects and groups i won't go into huge detail about those today again if you look in the older capture on webinars there's an entire webinar devoted to organization and i'll probably do one of those uh in the near future as well all right so we're happy to get some photos into capture one we know a bit about the interface so how do we edit photos before we get to that i'll just check on the questions and diego has totally on point there so that's good so nothing to mention there uh i saw peter was asking does loading images alter the image file or is it a copy like in lightroom so what we did with the catalog capture one is just reading where the photo is and showing it to you in capture one we're not moving anything um changing its destination we're not editing the raw file really capture one is just reading the data in there and then how we edit that in capture one again isn't altering the raw file it's showing you the potential of what we can do and then we cannot export out our final tiff's jpegs which we will get to right at the end okay so how does adjustments work in capture one pretty simple so let's bring out our exposure tool let's find something which could do with a little bit of editing and let's just grab this fantastic looking wave here so how does editing tools work in capture one and when i say how do editing tools work i mean how do we pull the sliders how do we reset them how do we see the progress that we've made and so on i'm sure you've all figured out that by dragging a slider you can make an adjustment nothing revolutionary there a couple of handy shortcuts if you want to get back to zero don't try and fuss around and put it back to the midway point double clicking anywhere on the slider tap tap will reset it back to zero if you want to preview what your adjustment is doing just do a long press on the tool name itself and that will preview what's going on on each tool there's a bunch of little icons at the top the first one let's just reset it which is this backward arrow the first one is an auto adjustment so that will do an auto exposure adjustment in this case it won't play with contrast brightness and saturation because that's kind of a environmental adjustment or a creative adjustment it's not a fix so auto will do an automatic adjustment the next one is a copy and apply icon which we come back to reset you just saw that takes us back to zero this little menu shows us various presets that you can save for each tool and then the final three dots allows you to change the defaults for a certain camera so in this case for your xt2 if you always wanted plus 10 contrast you could change that and then save that as the default so to kind of give you a different baseline to what capture one would let's just throw in a few quick adjustments to this so we can see something else so with some edits like this a useful button up the top here is the before and after so if i tap that i can drag myself a slider across to see what's going on that also works if you have multiple photos selected so you can do a before and after of more than one if you're not a fan of the slider click and hold and then you've got the full view as well so that will just toggle between before and after but the split view is works quite nicely what we do is we just mention one or two of the cursor tools and then we'll edit two or three photos so you can see exactly what's going on so thinking about the cursor tools let's pop our exposure tool back over here helps if you can remember probably max two or three of them whilst you're getting started so the one the default one which i tend to be in is the pan tool so this means if i double tap we go to 100 and i can scroll around the photo double tap and it will take you back out to fit screen another useful one of course is the crop tool and if you're not sure what any of these do just hover the cursor for a couple of seconds and you'll get an enhanced tool tip which gives you a brief description and also tells you the shortcut which in this case is c more on that in a second and takes you to a tutorial or one of our many support articles explaining it in a bit more detail so if you're not sure what something is just hover over the title or the cursor tool and you'll get a pretty good explanation so as i said i'm generally sitting in the pan cursor tool if i switch to my crop cursor tool you can probably guess how this works so if we were to crop this photo if you want to do a quick rotate or a spin just hover in the corner and then we can nudge our photo as we wish now you don't have to apply the crop as it were as soon as your photo is cropped then it is cropped and you will see the crop boundaries for as long as the crop cursor tool is selected so as soon as i move away from the crop cursor tool by for example choosing the pan tool then my photo will snap to its cropped amount now as i said if you hover over the top you can see the shortcut keys so there's a few shortcut keys which are worth remembering so if we just bring up overhead for a second so i mentioned i'm often sitting in the pan tool so that's h on the keyboard as soon as i press c on the keyboard then we get the crop tool up and with the demo effect i of course get a crash so we're going to open up capture one 21 and start that again sorry about that folks only ever happens when you're in a live situation of course so there we go uh let's open up the catalog that i made uh where are we webinar pm and get back to it right so here we were so what was i saying okay overhead so c to get the crop tool so that would bring my crop straight up h takes me directly back to the pan tool and another one which by default is going to be different for you because i have changed my keyboard shortcuts which is a very handy thing you can do if you remember i said you can hide or show either of the elements in capture one so the tools viewer or the browser so i quite often hide the viewer if i just want to see the grid now i use this key which is sitting just under my escape key so if i tap that that hides my viewer so i can scroll down through my thumbnails open up something else and then i'm back in to the shot again by default hide and show viewer is g so if we go to edit keyboard shortcuts let's make sure i'm not hiding them and we type in viewer then you can see i've got my show hide viewer set to this squiggly key whatever it's called in the top left hand corner so that's just a really nice way to hide and show without having to navigate up to the view menu you know kind of clumsy and cumbersome to do it that way so if you can remember let's bring that shot up c for crop h for the hand tool hide and show your viewer with g by default or assign it to something else then you can move around capture one quite nice and comfortably as well okay we shall edit a few photos because it's easier to see in context and then we pick up some of the other tools along the way let's just check a few questions nitan said how do i get two images on the same page to see before and after essentially if you've got multi-view turned on so this is on by default this little four-way box in the top left-hand corner if i shift select a bunch of photos then i see all of them in the viewer at the same time if we turn on before and after then before and after just by default happens on all of them so the multi-view is a really super handy feature of capture one again q a i think diego is well on the case there so thanks for answering those diego um let's see and thanks to my colleague on facebook as well who's pulling out all the questions there as well that's great uh right let's go back to we're going to open a different catalog so this catalog has just got these few shots in but i have prepared some earlier so let's open up my 21 catalog like so and we can get to work on those so we're going to edit two or three pictures this one is particularly nice and explaining how the exposure tool hdr tool works we're going to look at the color editor in this one a little bit and briefly touch on layers on this one as well but let's go to our dog on the beach first of all gonna hide my browser to give me a bit more space so that would be a simple on my keyboard command or if you're on uh pc control so control or command b that's just gonna hide my browser and give me a bit more real estate so what's going on with this shot it's pretty good out of camera but it's a bit wonky so we're going to introduce you to a new cursor tool at the top which is a straighten cursor tool so all i need to do is draw along the horizon and then capture one will rotate about that point and show me obviously the crop boundaries i'm going to hit c on my keyboard to get my crop tool up and let's just reposition him or her it's a her actually i should say this is a lovely shot from tina you can see at the bottom from norway so we've straightened it exposure's pretty good everything's almost right about this shot we just need to kind of balance out the light a little bit as well so first of all i'm going to raise the exposure a bit but looking at my histogram i'm being a little bit mindful of not to blow out the upper end of the exposure i'm probably just going to warm it up a little bit as well see the sliders are colored to remind you what they're going to do which is always a handy little reminder of what's going on so let's just warm it up a touch exposure's fine i'll add a bit of contrast now i'm aware our lovely subject in the front is getting a bit dark but we can fix that in a second with the high dynamic range tool i'll bring up the brightness 2 and i'll speak more about brightness and exposure in a minute in a bit more detail but essentially if you look what's going on if i pull the brightness back and forth so you can see the histogram wiggling and it's brightening this area of the shot but it's looking after my highlights so it's raising the mid-tones but it's not having so much of an effect on my highlights if i pull the exposure more you can see the adjustment is much more dramatic at the brighter end so if you have a photo where it's already fairly bright in the upper tones but you need to lift the mid tones a bit like our friend the dog in the front then brightness kind of makes more sense to do that so i'm going to pull the exposure back down to where it was and then open up the brightness now exposure warning wise i'm losing a bit of the sky but i'm not too worried about that because we can fix that in a minute so let's just pull that a bit brighter now when it comes to i think it's layla the dog's name i can't remember tina will correct me if i'm wrong but i want a bit more light here so if we pull up the shadows then you see that's almost exclusively working on the front of the dog like so now if i go here yes we've brightened it up to quite an extent but i'm a firm believer of still trying to keep some natural look to it so just because the dynamic range of the camera can do this doesn't necessarily mean that we should do so because now it's starting to look unnatural if we were standing there looking towards a backlit subject it generally does tend to sit in shadow to some extent so i would pull my shadow slider down a bit and to stop it looking too flat i'd pull this slider the blacks down which will just darken those very darkest tones and then we have a look at those we'll have a look in more detail on the next shot exactly the difference between black white highlight and shadows because they are quite different so i'm actually pretty happy with that i'll throw in a bit of clarity which is like our contrast adjustment but again it has a restriction so it's only on the mid tones so it doesn't affect our shadows doesn't affect our highlights if you pull the contrast too much then you're going to lose that highlight detail and you're going to use lose that shadow detail interesting question here which comes up a lot why don't you turn on the exposure warning real time because i find it massively distracting really i can see just by looking at the histogram i'm probably okay if i turn this on i can see if i just read the rgb values they're below 255 so i'm generally confident just by keeping an eye on this that nothing is going badly wrong so it's very rare i actually turn it on because i just find having the red and the blue splattered over the image kind of distracts me from really what i am doing but i might pull down the highlights a tiny bit so there we go simple edit but kind of takes in just three tools really or four tools if we include white balance so before that's how we came out of camera and that's how we came with just a few of those edits as well one thing we could do oh by the way uh your shortcut for before and after y is the default so if i tap y on and off i can't remember if i said that then that's a fast way to get to before and after okay let's dig into a bit more detail about this one so let's just reset so the reset button up in the top left will take everything back to zero now this is as it came out of camera and is a perfect more by luck than anything a perfect example of exactly what highlight shadow whites and blacks do which is nice so again if we were to edit this shot if i pull down the highlights look what happens with our histogram so we're going to pull the highlights down and you can see this area so this is the brightest tones of the image if you're not too sure on uh how to read a histogram so this is our shadows this is our highlights so by pulling this slider to the left it's going to darken the highlights and the upper mid tones if you like so this hump here so if i pull that all the way down you can see that hump moving left and right so it's getting darker or it's getting lighter like so and it has an effect if we forget the boring science and just look what's happening at the photo if i pull the highlights all the way down you can see it's darkening the road it's darkening the arrow we're getting some detail back into our sky so it's pulling all those brighter areas down now what about the whites as an example so now watch the histogram boring science bit again if we pull the whites down you see it just flattened off that peak there but this guy this hump didn't really move as much so if we bring the whites back to center and pull that down or just wiggle it left and right this is relatively stable compared to pulling the highlights so the highlight has a much broader effect on our tonal range what does this mean on the photo so if we pull the whites down you can pretty much see it's dark in the sky it's darkened the brighter bit of the road here less of an effect here it's kind of much more targeted so if i wanted to edit this i wouldn't necessarily pull the highlights down because it's darkened the road a bit too much i quite like the fact that the road is bright but i might just pull the whites down a bit just to kill that slightly and a tiny bit of highlight adjustment too so it gives you really good control uh on the end points of of your tonal range same kind of principle for shadows and highlights so if i open up the shadows again watch what happens on this bit on the histogram if we pull the shadows open then that whole hump moves its way towards the mid tones like so there we go if we pull open the blacks see it's just flattening or just tweaking that kind of upper end or lower end sorry of the histogram there what does that mean on the photo so if i open up the shadows it's brightening him it's brightening the buildings in the background as you can see as usual lots of dynamic range in the camera to play with if i pull up the blacks then it's really just his backpack and the darker areas of the building so how would we edit this just if we wanted to see a bit more detail in i would pull up the shadows relatively strongly around here but there's no reason why these two sliders have to go in the same direction so they don't both have to go up they don't they don't both have to go down so quite often if you've lifted your shadows then you might find the photos looking a little bit flat so if we pull the blacks down that will counteract that so even though i've lifted the shadows i've darkened those tones back down and if we stick on our before and after you can see so that's how it came out of camera and with the adjustments we made that's what we can get now we could argue that's too much or whatever but it's just a really good example of how critical those two adjustments can be so do spend a bit of time playing around with the high dynamic range tool in reality i'd probably bring that down a bit bring that closer to something a bit more like that because again if i took that shot i'm staring at a bright road naturally he's going to be silhouetted anyway so i don't really want to even though i can even though the camera has all that dynamic range i don't necessarily need to exercise that frank says do i ever use set up your tablet for using shortcuts not especially i'm so used to navigating with what i need to from the shortcut keys because the way i tend to operate capture one is one hand here one hand here like that so i can move over the whole space of the keyboard relatively quickly ergonomically i don't find it as comfortable to have left hand here because my shoulders this this shoulder is kind of then almost pushing back so i actually prefer that position to be more comfortable so all right um let's edit another shot to find out about some other tools let's go to our dude in the back of a car we're on xero because the reset button is blanked out so this is as it came out of camera before i do that let's just check for questions i think we are good yes um mark is on a slightly higher level plane than the rest of us he says can a session be put into a catalog yes it can again if you look at the catalog versus session webinar we go into a massive amount of uh detail with that so check the back catalog out again catalogs versus session goes into a lot of details about that as well apologies if i'm ignoring you on facebook as i can't necessarily always see exactly [Music] what's going on in facebook and youtube at the same time but yulia is doing a great job answering all the questions on there as well so i think we are good all right dude in the back of the surf van so what are we going to do with him another shot from uh russell our previous shot was from my friend john wild goose so must mention the photographers who make webinars possible otherwise you'd be bored of looking at my photos all the time anyway so again pretty good out of camera i wouldn't necessarily want to lift up the exposure because i like the fact he's separated from the background so by lifting exposure it's going to brighten up my shadows to some extent as well so i would prefer just to bring up the brightness a tiny bit because it lifts him but it's not doing as much in the shadowy background so that's my first step i would add a bit of contrast and generally that's pretty good i'd open up the shadows a tiny bit so we can see what's going on in the back i don't like the fact it's lighting up the edges but we're going to deal with that in a second and i'll pull the blacks down slightly as well and i'll put in a very basic vignette so the vignette tool slaps on an oval shaped vignette not much control over it but generally it works very nicely on the next photo we look at how you can use something a bit more sophisticated in a radial mask but this works quite nicely for him if we look at the before and after that's all we've done so far just a bit brightening now what about if we wanted to play with some color if we go to our color tool tab there's three different tools where we can play around with color we can use the color editor we can use the color balance tool we can use white balance of course and within the color editor tool we have an advanced mode a skin tone mode and the basic mode so for today we're just going to look at basic and then again a future webinar we can dig into some more color aspects where we just focus on that but looking at the surfboard in the back let's say we want to play around with that a bit do we want to dull it down a bit because it's kind of dominating to some extent if you think he's got funny colored hair it's not it's a hoodie i think just behind him but let's say we just want to manipulate the color of the surfboard how do we do that with our basic color editor a few different ways of using it you can use your eyes and think okay well that surfboard is red or whatever i'm going to pick the red color patch and play around with hue saturation and lightness the sliders change color so you know what their effect is going to be so if i pull lightness down it's going to darken down anything of that color patch in the photo of course it's picking up a bit of his skin tone as well so that's the basic way of using it if you're not sure which color patch to pick then you can grab the picket and say i want to edit this color click once so let's just pick a different color patch click once and capture one will say okay this is the nearest color patch fairly logical so now if i just wanted to desaturate that a bit and darken it down then i could do so quite nicely the more sophisticated way of doing it is to use the direct color editor so if i just reset this once more if we just bring up overhead cam a second so you can just see my color picker just below where my tablet is so if i click and hold now this would be the same as with the mouse i think my mouse is turned off but if you were to use a mouse i'd just be clicking and holding okay so long press if you want to think of it like that same applies here with the tablet so if i long press on the surfboard keep your eyes peeled on the cursor momentarily it's going to show me a four-way cursor there it is now it's gone so this essentially means i can move left and right up and down to then manipulate those sliders now if you look over at the color balance tool sorry color editor tool way over on the left you can see that it's picked two color patches because editing in this way i'm still holding by the way editing in this way means capture one can pick up two or three color patches at the same time so now if i drag my cursor to the left then i'm changing the hue and you can see the surfboard goes more magenta if i drag to the right then it's heading towards the more uh orangey tones like so so now if i go up and down with my cursor then i can change put saturation up or i can take the saturation down so i'm going to go somewhere around there to get the third axis up which is lightness we need to use a modifier key so if i hold down option on my keyboard now i can just play with the lightness so i can bring the tone down to something like that so that's kind of a faster way to whip in and out of using the basic color editor so you can either pick a patch and edit you can use the picker to show you which patch you should have or you can use the direct color editor as you saw by long pressing on the color you wish to edit so now if i wanted to do his blue sweater i could long press on that or cyani or turquoise and then we could let's see just boost the saturation of that a little bit like so so it's a really nice way to just move around the photo editing colors all right let's get rid of that there is more to the color editor we as i said we have an advanced mode which is fantastic for ultimate control but i won't mention that today there's also a skin tone tab which can pull in uh non-uniform skin tones i'm a good example of that so if you have you know dark circles under your eyes or sunburn or something or whatever then of course you can pull all those tones together to a picked one um david good question can you mask the surfboard so the color doesn't change on his face which has similar colors yep slightly bit advanced for today but seeing as you host so nicely what i would do is i would grab a brush over here right click this shows me the various parameters of my brush so if i just did a quick and dirty mask press m to see the mask so if i just did a mask like that doesn't have to be super accurate because we're going to pick within that mask so m to turn my mask off you can see by brushing it's made adjustment layer number one same as before grab the picker click on the surfboard now i can just play around i'm just going to do massive adjustments so you can see the difference and then this way it's not messing up his skin tones option click as you correctly are so good question david so layers is a massive thing in capture one again we could talk for an hour on layers but essentially what you saw there is just a way to limit a certain adjustment to a certain area of the photo that could be a color adjustment we could use it for dodging and burning we could apply sharpening locally it's a different concept to lightroom because lightroom deals more with an adjustment brush whereas capture one is closer but not the same as photoshop in the fact that we can have different layers which have different adjustments and each layer can have a different opacity so i can dial in and out exactly how much of an edit i want i believe this is a more sophisticated better way of dealing with local adjustments than just an adjustment brush for many many reasons okay uh mark says oh i have to look at that skin toning tool yes there's plenty of tutorials so if you go to the color editor if we hover on the color editor let's try that again then you can watch the tutorial and there's a couple of tutorials which just deal with editing skin tones as well it's dead simple to use best if it works best if you use it on a layer because no matter how you try and define skin tone you tend to often pick up the lips or eyes or whatever which you don't want to be affected so a quick and dirty mask works quite nicely okay i think that was the questions yeah i think we're pretty good um just checking facebook we're okay good all right so going to our last photo how we doing for time 10 minutes eek should be pretty easy let's go to our gnarly surf dude like so again pretty good out of camera but let's do a couple of basic edits so first of all i'm going to grab my crop tool just pull it down a bit give it a slight little rotational tweak something like that and the purpose of this shot is just to pick up although david miller beat us to it just to touch on layers briefly um but we can look at this one still so again simple crop first of all once again and it's going to sound like i'm a hater of the exposure slider but that's not the case i would lighten this a little bit with the exposure slider but because the surfboard is fairly bright in front of him then i don't want to overly brighten the surfboard because it's going to dominate the photo whereas if i bring up the brightness that's going to brighten him a little bit but not affect the tones on this so much so that's a good way of lifting the subject but without brightening the surfboard in the front it's a bit on the flat side so let's throw in some contrast shadows highlights and everything is pretty good to be honest if i open up the shadows i don't like that it's brightening up the wall behind him equally so i'm pretty much going to leave those well alone but just take the highlights down a touch and add a bit of clarity which is again our mid-tone adjustment so this one i said there's a lot of distracting stuff in his environment but it gives context but it'd be nice if we could darken that down a bit so we saw on the previous shot we did just a hand drawn mask very basic mask with the brush so now we're going to use our radial mask so if we choose that we get a different kind of cursor which you can see if i start drawing out from the center that gives us a radial shape if we press m on our keyboard so m for mask as soon as i tap that that shows me the mask that it's going to create now i want to rotate this a bit so if i hover in the middle i'm just going to spin this around soften it a little bit and move it roughly because i don't want to darken him down too much now i can always retrospectively change this so if i'm not happy with it it doesn't matter but let's turn off our mask and then what can we do on this adjustment layer well we can use any of the tools at our disposal so i'm going to pull the brightness down a bit i won't do the exposure because it would make this area very dark very quickly so i'm going to stick with brightness i might pull the saturation down a bit because then the bulk of the color is going to be focused on him and let's just go a little bit darker still because i want to darken down this area now as i said this can be a combination of anything so if i feel it's darkening the shadows too much i can just open them up and touch as well no reason why we can't blend that together if i want to move my radial then i'll just lift it up a bit like so so if we turn this layer off then you can see before and after again if you've overcooked it the nice thing is for any layer we can play with the opacity so if i pull the opacity down we can go anything from zero to 100 percentage wise so layers really make every single tool much more versatile so as i said there's not the time today to dig deeply into that but if you feel that you're getting comfortable with basic simple edits then as david asked us earlier like how can i restrict an adjustment to this area then layers make perfect sense for that let's see okay so we're almost out of time so all we have to do now is cover off our final exports that's an interesting question does capture one intend to be a full replacement for both lightroom and photoshop eventually it it all depends really i think the two applications photoshop and capture one are quite different you have to remember capture one is a single image pixel editor it's not designed really elegantly for batch work it's designed to take a photo and retouch it or compose it with something else or whatever capture one is primarily a raw converter and you know a fast batch application for doing multiple edits on multiple shots at the same time so they they have quite different personalities if you like now that's not to say that we can't creep and nibble into some things that would normally be done in photoshop which would be nicer to doing a raw converter and one of those things is healing and cloning so these two icons here allow you to get rid of spots blemishes you know whole items in photos and so on so those traditional things that you would normally need to do in photoshop can now be done in capture one so whilst we can nibble away a lot of photoshop things to be a true replacement it really depends on to the extent that you use photoshop like would a high-end retoucher be able to survive in capture one alone no can i survive in capture one alone yes because i don't need any of the high-level stuff in photoshop i haven't opened photoshop for a long time to be honest so but it's a good question but they are two two very different applications uh again samir what about adding sharpness masking yes you could you could sharpen with a mask so if i wanted to just sharpen more in the middle because this is out of focus i could do sky's the limit so anything in a layer so any tool can work on a layer so selective noise reduction selective sharpening selective color edits you name it you can do it or a combination of all those as well um [Music] all right let's go for exposure sorry exposure exporting exposure exporting nearly the same so what did we edit today so we've got uh surf dude one surf dude two silhouette and happy dog so four photos that we might like to export there's two ways you can export to your final formats in capture one there's uh the quick and dirty way which is this one up here export very simple to follow essentially you choose your location you choose the kind of file you want jpeg tiff and so on decide if you want to do any renaming and then hit export and then you have your final photos the more efficient way to do it is by using the options in the very last tool tab i'm just going to delete those because we're going to remake them in a second which are process recipes so process recipes allow you to define different export parameters to go to your tiff jpeg and so on and we can export simultaneously as well so if you want to have your jpegs and your tiffs at the same time at all pngs or 10 different other formats then you can do so uh i'm just being interrupted because someone says i'm skipping a question shakora so stephen was asking about uh rf profiles so for the rf lenses correct me if i'm wrong i'm just trying to think if i've got one if i have a shot from a canon rf because then i can show you something because i'm not sure canon canon canon eos r so what do we got here so let's grab that i just that's me i just want to check something um yeah regarding adding lens profiles we're adding them all the time steven so don't worry about that so every release we add more lens profiles so if you don't find your particular lens profile now don't panic because we are adding more and more lens profiles for some manufacturers and it's unfortunate uh canon don't do this for some manufacturers they put enough data in the raw file which means we can use something called the manufacturer profile which canon doesn't do unfortunately so sony nikon fuji as an example all do this unfortunately canon haven't cottoned on to that yet because then we have immediate support because we can always read the manufacture profile of a lens but unfortunately canon is yet to do that would be nice if they did because then it makes immediate length support without anybody having to profile it anyway i just wanted to reassure you stephen we're not sleeping on that uh it's definitely possible that the lenses that you want will be available soon anyway sorry for that digression let's pick up our photos again so back to our final tool tab so as i said this area allows you to pick what recipes you want and then export out multiple file formats at the same time so let's say let's stick with one let's say i want to have my full size tiff as i flick through these different recipes you see underneath it shows me exactly what's going to happen so this one would be a tiff this one would be a jpeg set to instagram sizes and so on so if we just wanted to export one thing very simple tick on the recipe you want to have check in your output location tool where it's going to go so i could choose my destination let's just choose the pictures folder as soon as i hit process capture one will start spewing those photos out into that location so if i go to the pictures folder you can see there are those tiffs coming in quite nicely so simple now obviously i might like to do more than one at the same time there's six of these which are included by default but let's say you want to make your own so if i say plus let's go for a jpeg and let's say i want to limit it to uh 2000 pixels something simple on the long edge like so so now i would go under here and then decide on my parameters so let's go for jpeg i'll just pull the quality down a bit let's go for srgb and i said the scale was long edge and it should be 2 000 pixels like so so now that's defined it's whole a new process recipe there's a whole bunch of other stuff you can add in there somebody sorry i forget your name was asking about watermarks but you can also add a watermark to your shot in the form of the process recipe so now if i was to hit process it would give me my jpegs and my tiffs at the same time all arriving at the pictures folder but then they're going to be a bit in a bit of a mess so it would help in some way to organize those automatically so if i click on this guy here this shows me various tokens that i can add to create an export destination now there's a whole myriad of tokens here which most of you are never going to use but somebody somewhere has a use for some of them so i'm going to grab recipe name so i'm essentially asking capture one to make me a folder based on the recipe name of the shop so if i say ok now my destination is the pictures folder and a folder of the recipe name so if i hit let's just check i deleted everything so pictures folder is empty so if i say process and go back to the pictures folder we've got a folder for jpeg 2000 and then for all my tiffs like so so it's nicely organizing them up now that's 1.5 of what's possible with process recipes um you can string together a whole load of tokens you can send them to a global destination like the one i just showed you you can make process recipes that go to individual locations it's very very powerful so just to kind of touch on the potential it's a really super handy feature of capture one all right to finish up i hope that those basics have been useful to continue with your learning you'll find in the top right hand corner a learn button if you click on that that takes you through some of the good getting started tutorials if you click on more online that will take you to our learning hub which has a whole myriad of blog articles webinars tutorials etc which you can go back through and watch or read at your leisure that's not forgetting the enhanced tooltips which you can see when you hover over various aspects of the interface if you're uh more experienced and those tooltips start to bother you or if you're recording content they can be very annoying take that as uh from my experience you can turn them off so in capture one preferences you can get rid of those um which is just an on off button and then they won't show up anymore so just keep that in mind as well so use the learn button use the tool tips that will help you get around capture one much much faster okay last few questions um where should we look first let's look we've got four screens to look at would you believe so um uh let's see diego is blasting through those on the webinar so thank you uh diego so that looks all under control which is great a good question from julia there actually which i'm gonna pip diego to the post do export recipes include graphic text watermark options yes as you saw so if we look in the watermark tab we can add text or an image so if you want to drop your logo on there you can if you want to just have simple text you can do so as well so lots of different options there as well looking at um the questions on youtube uh let's see um just checking for questions i think we're pretty up to date there sorry if i didn't get to your particular questions uh mark says surprisingly one of the best sony lenses does not have a profile the 90 mil it does it has the manufacturer profile and there's actually very little to correct in the 90 mil practically no distortion very little light fall off it is ridiculously sharp so really there's not a huge amount you can do to better that lens plus it's got the manufacturer profile built in mark so i've shot with that a lot and it is a pretty fantastic lens so don't feel bad it really doesn't need it so um and i think just checking facebook that's pretty much it so i hope you enjoyed today's little introduction if you are new to it just take it slow you don't have to learn every single tool straight out of the box just use the two or three tools that we looked at today so that was the uh you know exposure tool high dynamic range basic color editor clarity you can do a whole bunch of great stuff with your images just using those really so don't swim before you can paddle just stick with the basics and you're going to have a great time for sure okay thanks for joining today we're back on tuesday i think with just a little quick editing session on youtube that will be on the 22nd so look out for that on youtube in the coming days i'll get that up there so you can subscribe oh gotta press the don't forget to subscribe button uh and that way if you subscribe to the youtube channel then you're gonna be notified when something new is added when we go live and so on and so forth so please do that on youtube and then probably we'll be back in the new year with more full-on webinars and so on but i appreciate that we are now coming up to christmas so thanks everyone let's have some christmasy snow back on and see you all again in the near future hopefully next week take care bye now you

Channel: Capture One Pro

Views: 22,139

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: xHz0KBSrPWU

Length: 66min 5sec (3965 seconds)

Published: Thu Dec 17 2020