Capture One 21 Livestream: Edits | Four Photos - Four Edits

there's four kind of different pictures so various different genres don't worry if it doesn't necessarily gel with the kind of photography that you do all of the techniques that we're going to look at today you can apply to pretty much everything so don't be too concerned about that this is being recorded as it's going straight out to youtube uh so you'll be able to watch this you know almost immediately as it's finished and you can also pick it up tomorrow as well or rewind it and watch it as many times as you like all right so let's get started straight away any questions please do put them in the chat if you're in the webinar webinar room you'll find a q a panel as well so if you can try and separate out the questions into the q a panel then that way it just separates it out from the chat those of you on youtube and facebook just feel free to pop your questions in the chat and we will get to those as well okay let's get going so a bunch of different pictures as i said let's start with this one a very nice environmental portrait from our friend of the house emily teague and like a lot of the pictures that we're going to look at today look pretty good out of camera so that doesn't mean that we should just stop and not do anything there's always a little way that we can finesse and improve something so the main goal of this shot is a couple of things first of all on the right hand side this area is kind of a bit bright and a bit dominant so it means we're not really focusing on our our handsome men in the middle those three dudes so that brighter area tends to draw us away so it's really a bit more about focusing on the subject at hand in the middle so the first thing i'm going to do and the first thing that i generally do in an editing editing process is to think about composition so that's cropping all those kinds of things so i'm going to grab my crop cursor tool from up the top here and we're going to crop in just not much just a little bit tighter like so and just cut out a little bit of the right hand side to some extent and kind of center these guys up in the middle there we go so happy with that exposure wise it's pretty great out of camera i might want to lift it a little bit and now here's a a good moment to learn about the difference between exposure and brightness so i've already said this area is a bit on the bright side so if i lifted up my exposure that would also make this area brighter too and notice you know that's almost kind of burning out on the right hand side so exposure is going to brighten everything by the same amount so if i just want to lift up the mid tones a bit and these gentlemen are kind of pretty much sitting in a mid-tone then a better approach would be just to lift up the brightness a touch and that way our brighter areas are left untouched so brightness is a great way of improving the brightness in the photo but not making any changes to the highlights so that's a good start terms of contrast and everything else uh let's just put a little bit of clarity in so that's going to improve our contrast but in the mid tones only it's not gonna make many changes to the shadows or to the highlights and in terms of high dynamic range i'm gonna pull the highlights down a touch but we really don't need to do much else here it's a nice soft flat light so it's just ended up being a great shot out of camera however looking at the shot we still tend to get a bit distracted by this brighter area on the right hand side so two things we can do the first thing is to just use a gradient mask to darken off that area a little bit and then we can do a vignette or a radial mask to focus more on the center so let's worry about the gradient mask first of all so over in our layers panel we're going to grab our gradient cursor tool and we're going to draw from the right hand side and stop about here now i know they're a bit hard to see but essentially we've got three lines here if i press m on my keyboard m for mask we can see the mask that we've created now the point of having three lines is that the right hand side line is where the mask is at its strongest 100 in the middle it's at 50 percent and then by the time we've got here to the last line it's faded down to zero so that's like a symmetrical fall-off from the one just above my head all the way across to the furthest one now we can make that asymmetrical which is one i do which is what i want to do so i don't want too much masking on him i don't want to make him any darker so if we press hold down our alt key oh is that out of focus that's a bit better if we hold down our alt key on the keyboard and then drag this one across we can make the falloff asymmetric and now i can just bring this out because i don't want to darken his face down anymore so now once again we've got a choice to make with our exposure sliders here if we pull the exposure down excuse me that's going to darken everything again so it might make the shadows a bit too dark and dingy see what i mean so what i do is actually pull the brightness down a bit it's not as harsh and we can pull our highlights down a bit as well and that just takes the brightness out of that area like so so now if we turn this whoops wrong button if we turn this layer on and off we can see before and after so it's just taking the edge off it a little bit and let's call that right hand side like so now the final or almost final thing that i want to do because i'm sure we'll find something else to do is uh just to have a look at some kind of vignette to make them stand out from the background a bit before we do that i noticed something i forgot to do which was our levels so as i said i was pretty happy with the exposure but you should always take a good look at your levels as as the one of the early stages in your processing now i'm very keen to say there's no point in having a strict step-by-step workflow to adhere to because that doesn't necessarily work for every photo but something that i tend to do early on as you've seen is cropping and composition i think just helps to edit the photo a bit better and then once you've got your exposure roughly in the ballpark figure we should be taking a look at the levels tool now you can see here we've got a pretty nice even spread of tones until we get to the highlights where we don't have any information here and what that can do is lead to the photo looking a little bit on the flat side so a generally very easy thing to do is just hit auto on the levels that's this magic wand here like so and that will just bring in the shadow and highlight points and give us a nice even spread on the histogram so essentially it's like we're just tugging the ends of the histogram out so that they reach the full potential of their tonal range essentially now if it's a little bit harsh you can of course bring these back and one of the later edits that we're going to do the auto function is just a bit too much so just by pulling it back out you can lessen the extent but if we do a option click on the reset uh sorry wrong button option click you can see before and after so it's just giving us a little bit of extra contrast which looks great so back to the vignette so a couple of choices for vignetting we can use the vignetting tool down here which works really super well but there's no control over the shape or the way in which the tool darkens or brightens the areas so you're very much letting capture one do the driving there but it is a great tool and it works well for the most part so if we wanted to do a simple vignette we could do so and it works really well it doesn't block up the shadows gives a nice overall effect but as a as i said you don't have any control on the shape and it's only one adjustment it's a dark and brighten adjustment so if we wanted to do something a little more specific for this photo we're going to start with making a another layer and we're going to call this just a radial mask that's the correct term for it and this is our radial mask tool here now the reason why i haven't done it on this layer that was our gradient mask if you remember like so if i was to draw the radial mask on that layer it would just cancel out the gradient mask so we don't want to do that so that's why we have a nice brand new layer where i start drawing so in the center the mask will kind of burst out from there so it'll grow from the center if you like so think about where you want the center of the radial mask to be and then start drawing so i'm going to draw a shape that's something like this again it has three lines so 100 50 0 in terms of the mask opacity so to feather it off a bit more we can just expand it like so to squish the shape around you can grab any of these handles in the corner and we can also rotate it just by hovering in the middle so you can build a radial mask which is you know a bit more fine-tuned to your picture and you can always retrospectively go back and change it now the other benefit of doing a proper radial is that we have any adjustment tool that we can apply to that now once again i'd probably advise against using exposure because if we do do that it will make the shadows dark quite quickly so a better method would be to pull the brightness down a bit don't forget you could also play around with saturation as well that looks pretty naff so we're not going to do that but just keep in mind you've got the ability to use any of the sliders so i'm going to pull the brightness down a bit more if we pull the blacks down we can get some like deeper blacks in the shadows and just make sure it's not crushing that too much so that just gives us a bit of extra focus on the sub on the subject in hand the last thing that we want to do is i'm just going to brighten these guys up a tiny bit just on the front there so they're lifting off the uh the photo a bit now the easiest way to do that would be to use a style brush style brushes were introduced in capture 21 and they're a great accelerated way to do some quick local adjustments on your photos and i'm going to use them a few times today as well now if you're running on the [Music] default interface of capture one then uh you're going to see your style brushes around here somewhere what i've done is make myself a extra custom tool tab and just put in there the style brushes tool and the layers tool just because i was running out of space to some extent in the exposure tool tab so this way it gives me a nice empty tool tab where we can just see the full extent of what can be done in a style brush and it's also easier for you to see what's going on as well if you don't know how to make your own style brush if you right click anywhere up in this dead space you can add a new tool tab and say add a custom tool tab and then once you've added your custom tool tab you can use the same command right click and just uh add any tool you want into any tool tab so certainly if you're working on a smaller monitor or a smaller laptop then it can be useful to customize the workspace a bit so you have a bit more room going on okay so what were we going to do style brush that's right so i'm going to grab our brighton brush so dodge down here so i just need to click it once soon as i start brushing on the photo capture one will make me a layer and we can start applying the adjustment now this brush is a bit on the hefty side so let's right click and make that smaller i want it relatively small and soft and notice that the style brushes always have a low flow and if you're new to using layers and local adjustments and brushes and so on flow is a really important brush setting because what flow does is just restrict the amount of adjustment that we're brushing in per brush stroke so whether you're using a pen or a mouse doesn't matter every pass of the brush or the mouse we'll just put a tiny bit in this case four percent of the adjustment on each stroke so it means in some areas we can do a lot of brush strokes to build up a big change and a small amount of brush chokes to do a smaller change so i just want to brighten up this area a little bit just like so and stop there now it might not look much has happened but if we turn off our dodge layer you can see before and after like so and i just brighten up a bit on the top just so they're lifting off the page a bit more now really i think that's all we need to do do we need to do any other healing or anything like that actually the only slightly annoying thing is this dot over the back here so that's just a quick fix with the healing brush click on the offending article and then capture one will pick the best spot and take it away if it hadn't have rather cleverly picked the same color and density to fix that i can always pick this up and then move it somewhere else but that worked really nicely so to look at our before and after let's click on our before and after tool so again this was pretty good out of camera but as i said the main distracting thing is this bright area to the right so we can just kill that down a bit with our linear gradient so that looks better and then we brightened up those boys a bit in the middle as you can see and adding a bit more contrast with our levels tool and overall we added if we go back to our radial then you can see just a slight vignette makes the background look a bit earthier and darker got rid of that annoying spot and also our little dodge in the middle just to brighten those up a little bit so let's just pop that there for a second and you can see the difference okay any questions let's have a look uh what's the preset style for this shot i saw um brian asking there wasn't there was no preset styles that just how it looked out of camera because capture one is awesome so if we do a a new where are we new variant so that'll be a new variant with no adjustment so that's literally as it came at a camera so very nice light great colors all of that good color profile thanks capture one so that's just with our changes so add a camera and a few changes like so uh i think we're good for questions um okay let's see now i think diego's pretty much answered all the questions in there you guys are happy on youtube and facebook so that's fantastic okay so i think what we can do is move on to the next photo pretty good as well one last little quick check just want to make sure i haven't missed anything popular okay great all right let's move on so thanks to emily for the loan of that picture and let's go and move on to we've done our environmental portrait let's pick up this landscape here because again pretty nice out of camera but a few subtle edits we can actually improve on it by a good amount as well so this is from eric ronald one of our new ambassadors so if you haven't checked out our new ambassador lineup please do so you can find them on our instagram channel there's a webpage dedicated towards them as well really impressive lineup of people so do check them out okay so first of all um we can see that it's probably not quite level now this is a bit of a deceptive shot because the beach i think shelves quite steeply into the sea the trees are fairly straight um probably wouldn't trust the telegraph poles necessarily to be straight but to me it looks like it's tipping a little bit so normally to do a minute rotation adjustment i prefer to use the rotation and flip tool here so you can either drag the slider and bounce it around like so if you want to do minimal changes clicking into the value box is a good idea and then you can use your arrow keys so if you look on my keyboard here if i just click downwards that's giving me a point let's move that cursor that's giving me a point zero one change so very very fine if i hold the shift key down as well just over here on the left hand side then that will give us a point excuse me that will give us a point one change so a slightly more dramatic one so if we get the overhead camera out the view out the way i'll probably just spin that a little as i said the beach is deceptive so it's not like we're going to make the beach like this because i think that's probably a bit too much but somewhere in there because it's nice that it's sweeping in as well so grab my crop tool let's cut out a bit of the sea i don't think we need that much to have a bit more of a panoramic cut going on like so so that's a nice look it's obviously quite hazy so we've got some choices here do we want to get rid of the haze personally i wouldn't do we want to get rid of a bit of the haze i think might be nice if we look at the levels tool again classic kind of histogram of when a shot could look a little bit too on the flat side we've got very little information over here not so much information here big bag of mid-tones so it can often look a bit flat so if we say auto capture one's going to set our shadow and highlight points now that has improved the contrast quite dramatically so if we go option click before and after that's done a big job or a big way into going and taking off some of the haze and improving the contrast but for me personally it's probably a bit too much so i actually like the hazy look so i'd back that off a bit don't forget there's also the d haze tool so if you do want to really get rid of the haze then you could also pull this across and get rid of a lot more of it but for this shot i kind of expect it to be a bit hazy if you look at the trees in the background it's probably humid as hell really hot so to to get rid of that atmosphere seems a bit too much to be honest okay um what are we gonna do next just lost my thought process for a second yeah there we go so on the subject of haze i might like to add a bit of clarity in the c but not so much um on the background here because contrast wise that's you know it's pretty good but if we pull up the clarity and see what happens then if i just pull that up slowly this actually improves the c quite nicely to some extent but i don't really want it on the background now what we could do is paint that in with the style brush but if we look on our style brushes we don't have anything specifically which adds clarity so we're gonna do it with a layer and then later on we can actually save that as a bit of a style brush here's one we made earlier which was from our earlier webinar so what i'm going to do is let's just delete that style brush let's get rid of that one and then we're going to make that later on because it actually worked out really nicely for a second shot okay so let's get rid of our clarity so we've got no clarity going on so i want to put a bit of clarity here but not much going on there and use that to build a style brush later as well so if we add a new filled adjustment layer so that's making a layer over the whole shot so if i press m on my keyboard then you can see we've got layer everywhere now i can dial in the amount of clarity that i want and i'm ignoring this bit we're just concentrating on the c so if i just pull this up till i roughly get the amount of clarity that i like and i can be quite strong and depending how sharp it is um it's pretty sharp and let's just add a teeny bit of structure as well but it's too much going on in the background here that's too strong for my liking so we're going to call this c clarity like so and we're going to right click and now clear the mask now that's not going to get rid of the adjustments that's just going to clear out our clarity amount sorry it's just going to clear out the mask but not our clarity amount excuse me i'm talking nonsense so when i say clear mask the mask is gone but the clarity amount which we dialed in we can now use to brush back in gently where we see fit so if i grab my brush right click once more to look at the controls and again this is a good use of flow so i don't want to paint a whole lot in in one go because i can do a bit more up here but probably not so much down here so right away if we start brushing this will gradually add in my clarity and structure amount so i can do a little bit there just don't want quite so much in this corner but more up in that corner like so so now if we turn off c clarity you can see before and after like so but i've still got my nice hazy-ish background if we press m on the keyboard you can see what the mask looked like and notice that its opacity varies because with that flow nice and low then it's going to build up that mask gradually okay finally we're going to do a little bit of color grading and we'll come back later and we will create a style brush out of that when we need it so uh color grading wise i'm going to add a new filled adjustment layer once more because it helps to do color grading on the layout gives us more flexibility means we can use other adjustments to build a whole color look for the shot in itself so let's call this color grade like so and go to our color balance tool so the color balance tool if you haven't uh played with it it's well worth getting to grips with it super simple to use there's a whole webinar about it which was on a few weeks back so check that out if you want to really see it used in a variety of different ways but for this shot remember we're on our field layer here like so m on the keyboard so the mask is over the whole shot it's going to affect everything so let's uh pull down we don't have a great deal of shadows in this area as you can see so it's likely the shadow slider is probably not going to do a whole bit it does a little bit actually so let's put a bit of teal into those shadows and mid-tone wise let's warm up the mid-tones the touch as well and also our highlights because i feel it's you know it's a warm hazy humid sunny day so let's get some general warmth into it as well i might prefer this to be a little bit more uh subdued so on this color grading layer let's take the saturation down a touch as well so if we turn off color grade you can see before and after like so so a bit more subtle in tones a bit more teal in the shadows bit warmer but taking some saturation down a little bit as well so i think for me or one last thing let's grab our healing brush so you see what's in the middle here don't know what that is but it's sort of slap bang in the middle of the photo so it's not not very nice to have it there a bit distracting so grabbing our healing brush um let's make it a bit smaller and let's just take out whatever that is capture one doesn't do a good pick it's not bad but because we've got those lines streaking on the beach we can line those up so it looks better you can use your cursor keys too so if i just click on my cursor keys so if we zoom in to a crazy amount you can see those lines so that's probably the best match i'm gonna get i would say and then we've also got this one over here so let's get rid of that whoops now what i did there because this is still orange selected if i brush again capture one's going to use that as the source point so i don't want it to do that i want it to have a new source point which i can also adjust as well so let's try that one wasn't super successful so sometimes it's just a case of trying a few different spots especially if it's something with those lines in the sand like so that's better it's much more convincing and there we have it i might just crop down a little bit more at the end so turning on our before and after that's how we came out of camera yes it's hazy do i want to get rid of all the haze not really because that takes away the atmosphere so that's doing a bit of color grading adding some contrast in this area adding some clarity in the sea so it's a bit sharper and we can see the peaks and troughs and so on but keeping the haze in the far distance because that's a lot more sympathetic to how it would actually be so a whole bunch of people up there oh yeah look at that so we could have de-hazed it completely but i just don't think it works on this shot peter says can we try a quick black and white conversion sure let's hit black and white see what happens there we go not bad what i would probably do for this one if i just go back to the background layer is just add a little bit more contrast there we go that looks really nice actually so thanks peter uh good good recommendation uh they'll actually work really nicely with this one too what was the edit we did was it this one yeah this one so again sometimes nice to have a look at black and white also not bad a little bit flat also once more i think i would just do a little luma curve contrast adjustment and the reason why i'm doing luma is just a force of habit more than anything else because if we'd played around and tweaked these sliders and what these sliders do is just change the density based on the color range if you then go and use an rgb curve an rgb curve can't help but shift the colors that it can upset this as well so i'm well used to just using a luma curve in black and white but that also looks pretty nice too and so does our indian scene as well it's very much indian theme this week okay let's have a look at a couple of questions uh i saw jack said couldn't the sky be a bit enhanced maybe it's not a great deal to enhance there singular tone like if we crank up the clarity fully was that the one we just edited let's see adjustment layer what is it this one i'm losing myself now did i do my clarity on the wrong layer for a second i think i did what a nutter i think it was still on the background silly david that's better so schoolboy error there i'd put my um clarity amount on the wrong spot uh could we enhance the sky maybe but there's not you know there's not a huge amount going on really in the sky if we go on the background and just max out the clarity you could get a little bit more out of it but personally i quite like the haziness of it but you could you could try a little bit to get more out of it potentially if you uh wanted to oh it's because we did the black and white one that's why i wasn't going crazy i did do my clarity on that one that was uh a shot from earlier this morning i think so not going completely crazy that's good to know uh abbott says by rotating the man starts to lean yeah so maybe i was a little bit too aggressive so let's stick him back like that is that better actually really like it in black and white are you able to display the grid whilst using the arrow key you are not i'm afraid so i know that would be useful but don't forget you do also have guides horizontal and vertical guides which you can have a shortcut key here as well so if you wanted to add some guides you can do so if you have your select cursor tool then you can move these kinds of guides around and pop them wherever you like so if you want to try and line something up like telegraph poll man architectural feature or whatever then use the guides because then you can pop those anywhere last question and then we shall move on let's see tim said did we lose the blue in the sky yes but that was on purpose so i prefer to see it a bit more muted but of course if you want to enhance the blue then you can go the other way as well right let's go on to the next one so i know there's a few other questions there but we could spend the whole session uh answering questions but big thanks to uh peter for suggesting the black and white because that looks super nice on that shot okay let's go to this one because this is actually a really interesting shot because we can talk about noise reduction which is not something we do a great deal of talking about or at least i don't because generally the defaults out of the box work really really nicely so this is shot on the gfx 50 which is a great camera which means we can crop the bejesus out of it as well now i know it might be a little bit hard for you to see on the webinar transmission due to compression and all those kinds of things so if i zoom into a ridiculous amount then you can see that there's a little bit of noise going on in the background now as the background is literally just that a nice mottled background we can afford to be a bit more aggressive with our noise reduction before we get to that let's just crop the bejesus out of it and this looks quite nice in square format so with our crop tool selected we can right click and switch to square and as soon as i start cropping it will snap to a square format so let's go a little bit tighter in like so again if we wanted to rotate another method is you can just hover outside the corner of your cropped frame and then decide how you want to rotate so we can drag left and right to do so so let's angle it like that a little more and now we can start to do our editing so as i said looking at the background it's a little bit noisier now to understand how noise reduction works in capture one if we look at our noise reduction tool let's just float it out for a second you will always see those three values 50 50 50. now we had a question on this morning's webinar like oh how do i set all those to zero 50 is too much actually 50 is not too much 50 is a good compromise between noise reduction but retaining detail so think of this as a new zeros if you like a new zero now these values that you see here are also camera dependent and also iso dependent and as i said they're a good compromise between getting rid of noise but not sacrificing detail so 50 50 50 is exactly that the best compromise now in this case because we've got a singular toned background the noise is a little bit more apparent and also because we can deal with the background separately to the flower what i'm going to do is just bump up the noise reduction greater for the background but we're not going to do it on the whole shot because that's going to add a bit more noise reduction and a bit more softening to the flower itself so what we want to do is treat the background separately from the flower and then we can decide exactly how much additional noise reduction we can put on the background without affecting the detail from the flower so hold that thought for the moment and let's see what we can do to select this background with the minimum of fuss whatsoever before we do that exposure wise let's just give it a little bump not too much and leave it there because i actually want the background possibly a bit darker we could tweak the color of it and so on so what we're going to do is use our color editor because masking around this guy would be very time consuming and a bit annoying but hopefully what we can do is use the advanced color editor to do the masking for us so we're going to grab our color picker i'm going to click on the background capture one's going to give us a suggested color range to see what this actually is if we click on view selected color range capture one will turn to monochrome everything that's not part of the selection so that's actually done a pretty good job now if we zoom in to let's just zoom in a lot so you can see what's going let's turn on view selected color range once once more now it might be a bit hard to see let's actually tweak the hue so you can see better so if i pull the hue in this direction that's effectively moving my picked point this way around the circle if i move it in this direction that's moving the pick point around that circle but you see where the edges we've got a little bit of bleed or it just doesn't look especially good so you can see like so so sometimes you can fix that by bumping up the smoothness and what smoothness does is control the roll off into the neighboring colors now as this is not really a neighboring color between the flower and the background it doesn't really solve us this slightly crunchy edge so what we're going to do before we do anything else is actually turn this into a mask and then improve that mask so once again if we turn on view selected color range we've got a pretty nice selection of the background and not the flower so to turn this into a mask what do we do well there's a little known feature under here create mask layer from selection so essentially transform that into a layer like so only takes a few seconds and now if i press m on my keyboard you can see the mask that it's created like so with pretty much a minimum of fuss now to highlight the issue that we were looking at further best way to do that is to look at the grayscale mask so if we turn on the grayscale mask you can see the issue that i was hinting at if we look at the edges of the mask they're a little bit on the you know brutal side it's done a massively good job i mean look at that imagine trying to mask that by hand that would take you forever but it's a little bit brutal so how can we improve on that so let's stay on our grayscale mask and we're going to call this flower so we know what it is right click and say where are you refine so in this sub menu there's all kinds of cool stuff you can do with masks we could feather it that might help but refining tends to be a bit more accurate so if we turn on a refine mask like so let capture one think for a second and that's already just feathered off the edge of the mask quite nicely if we go to zero that's before if we go to 300 that's gonna have a massive difference and then you see you know the feelers have cracked out from the edge and so on and gone all the way to the center because we had such a big radius but i want to just improve or refine the edge to some extent without going into the middle so let's try that like so so now our mask isn't quite so binary it's a bit more refined a bit softer and that should lend us to be able to do a better um correction so we've just got our background so now once again i can pick on my background once more and decide what i want to do so we can pull around the hue we could make it you know move the color point gradually this way around the circle or we could go this way which i prefer a bit let's darken it down slightly and you know if we bump up the saturation drop it down we could really kind of pull around the colors to to quite a big extent so i'm going to stick with something like that and then we don't have that weird edge issue that we did when we were just using the color editor also now because we've got our um sorry i named that flower my mistake background whoa that was terrible typing background number two if you like so that's just our background and as i said now that we've isolated that we can deal with the noise reduction separately so if we just zoom in let's get this out the way we can bump in some extra noise reduction on top so i can afford to be relatively aggressive because it's not affecting the star of the show which is the flower up here so i can give some extra luminance noise reduction again sorry if it's hard for you guys to see watching out there um but if i just click on this before and after it just softens off that grain a bit but that's a good technique that you can use you know on any subject like this if you want to treat a background and foreground separately in terms of sharpening also what we do on the background layer we're just going to kill any sharpening because that's just going to sharpen our noise to some extent as well so now we've successfully got our background how do we successfully get the flower well the good news is you've already done the hard work so you don't have to then go ahead and think oh how can i select the flower in the same way could i use the color editor etc etc you've already got the basics of the mask which is this the background so we just need to invert that now fortunately if we make a new layer and call this flower we can right click and we can copy that mask from the background so just be completely identical and the next thing that we want to do if we just turn the mask on right click and say invert and hey presto we've got a perfect mask of our flower like so so now we can deal with exactly what we want that's a bit close in terms of sharpening detail and so on so we stripped out the sharpening if you remember we added additional noise reduction into the background so now we can just focus on the edit here so what i would like to do with this we could probably add in a little bit more clarity make sure our highlights don't go too crazy sorry brightness like so and then we could add in a bit of structure for the stamen i believe thinking back to secondary school uh education um and then we could also add some sharpening back in as well but not too much because we don't want it to go over the top but if we turn this layer off and back on that's just boosted our contrast added the sharpening which we took out and so on and so forth so really all the hard work was done there by the color editor so if we go to the initial layer that little single click selection went on to create that background which was easy to then sort out our noise reduction or increase our noise reduction and just by having that mask meant it was easy to copy it and invert it to do this and the crucial step of course here was if we turn on our grayscale mask so there's a little bug which means it doesn't activate properly sometimes there we go and the crucial step here was to do that refined step so it just wasn't quite so angry at the edges if you like now you there's nothing to stop you uh refining again if you need to do more we could even you know feather the mars to some extent if we wanted to soften that off so you can just build up those different layer adjustments should you need to but i don't think it's necessary in this case of course this was helped by having a background that was vastly different from the foreground or at least different enough to do a very quick easy separation but it's a good technique which you can use pretty much on any genre as well okay let's have a look in the q a tab um martin says david is there a reason you don't use auto mask i do use it sometimes but to be honest in this particular case uh auto mask would have taken me much much longer so it probably would have worked fine just around this edge but then if we wanted to include this stem you've got to you know brush your way down the stem and so on whereas the color editor was just a one-click solution really so it's by far the the easiest way to do it i would say uh let's see good question from alan can you explain the difference between clarity and structure so clarity is a mid-tone contrast adjustment now it's probably harder to see on this shot so let's go back to an un-edited version of this if we were to heap in tons of contrast what happens very quickly we can see that the shadows get too dark the highlights are a bit too bright this isn't particularly nice to to look at we're losing detail here so aggressive contrast doesn't look good even though in capture one you can push this quite hard you still have to watch what you're doing so clarity aggressive clarity look even at 100 points that be too much for me but we can still be fairly aggressive with it the difference with clarity is that it's doing a contrast adjustment but it's avoiding the shadow areas so that's why we don't get this phenomenon of shadows blocking up and looking nasty structure is almost doing the same thing but it's at pixel level so the net result of that is an increase in detail so if we go to indian beach let's see if we zoom in on this dude and we uh bump up some structure let's go to the background let's do it aggressively so you see all the edge definition suddenly becomes stronger so you have to use it with a bit of care but with a good sharp photo it can really improve uh on the edge definition if the photo is soft or not in focus or has lots of noise structure won't magically make that happen so it with structure you need to have if you like a good start point for it to be effective let's see um can i make black and white work on a layer that was richard no i'm sorry not richard's question michael's question you can't make the black and white tool work on a layer it doesn't unfortunately so if you wanted to do black and white in some areas if i did a new field adjustment layer and then took saturation down to zero then we could also have a black and white and if i took my erase brush uh and let's just make that a bit harder and then i erased bits in my mask then you could have a mix of black and white in color if you like so that's the way to do it just by using the saturation slider like so so it is possible but it's just a bit of a work around how we doing for time enough time for the last one that's good i'm just going to double check um questions alexander says can i export the grayscale mask to photoshop no you can't unfortunately which um might be quite useful but it's uh not possible i'm afraid and i think we're pretty good gary says using the color editor can you match colors in two different um pictures exactly you can't what you can try is the normalize tool so if we where are you normalize tool normalized down here so what you can do in the normalize tool is this is probably going to fail badly as we don't have a good example but if i grab the normal eyes and say okay we want this color so that records this color i've picked this color here and i've got the rgb values then if i was to go to a different shot let's go to this one and then say make this color match so click here what capture one would do was adjust exposure and white balance to bring those tones equal so now at this point wherever i clicked the rgb values would match but it's done using white balance or exposure so it doesn't work as well for massive changes but it can be useful for you know aligning a series of pictures if you like but the color editor you could eyeball it but you can't do it mathematically if you like all right last picture which is a tricky one i've struggled with this shot but that doesn't mean i should negate it let's just do a new variant oh that one doesn't have any editing i think yeah this is how it is out of camera also from ambassador brian meniere so brian did a way better job of editing this me that editing this compared to me the reason why i chose uh this photo was that it was a good use of the keystone tool and also it's a good use of our clarity brush which we can remake from our earlier shot and it's also a good lesson in trying to being sympathetic to the lighting conditions at the time so this was shot at sunset i believe so in the evening seven o'clock so we've got a couple of choices to make in how this picture should look do we want to make it look like daylight no i don't think so do we want to try and be sympathetic to the fact that it was sunset yes before we get to that i thought this was quite a nice use of the keystone tool so generally the keystone tool is used you know for architecture and interiors but it also can be nice if you just want to change the light of the land a bit so i felt that just those rocks in the background i wanted a bit more prominence to them so just with a few points of the keystone tool then we can just raise up the back of those cliffs a bit it's not my m not by much but when we look at the crop tool we can see what it's done it's just pushed the edges out like so so i'm going to change the crop a bit oh we've got our square crop up so let's go to unconstrained pull this a bit further out and then decide do we want more foreground or do we want more sky i'm gonna go for something like that i would say okay so we've got our composition in change the keystone a bit so now we need to decide on what we're going to do for exposure white balance all those kinds of things should we brighten it up to this extent no because now it's kindly lost all the life in the atmosphere in it so we've got to be really careful and i think it's fine to keep it a bit moodier and darker and also by warming it up a bit now the atmosphere is back because at the default white balance the camera if we just go back to how it was shot had over compensated for the warmth that bit too much it's very cool everywhere particularly down in the front here which is probably just fallen into shadow so let's just warm it up a touch like so so i'm looking to get the warmth about right in the mid mid ground but it's still a little bit on the cool side here the good news is we have a style brush for that so we've got balance called balance warm so i just want to warm up down here a bit more so if i grab the balance warm make this brush significantly bigger and it's not going to need much but just a few brushes along here a bit more on this side just to equal that out to some extent so now if we turn off balance warm slightly cool a little bit more in tune with everything else so i feel that's better so that's a positive benefit for us just looking at the levels again is this a good case for auto levels let's see what happens whoops close sorry is it a good case for auto levels i don't think so really not quite that's a bit too much i think you would agree i mean if we'd shot this at three o'clock in the afternoon maybe that's a good result but it's just a little bit too much so just pulling the highlights back suddenly makes it look a little bit more interesting thirdly if we look at the shadows they're just getting a bit too deep up in here great detail in everything so once again this would be a good reason to have a bit of structure because that would just highlight all these rock formations that little bit better again be subtle with it don't push it too much i wouldn't mind opening up the shadows just along here slightly if i do that with the shadow slider it's opening up the foreground a bit too much once again there's a style brush for that so if we grab shadows recover make this a little bit smaller by the way if you want the speedy way to make your brush settings change right click brings up the panel if you want the speedy version if you're on a mac control and option together and when i drag left and right you see we have that little heads-up display up and down so up and down with the mouse like so then it changes the hardness if you're on a pc same but you would right click to drag okay if we do shift control option spider hands then that will change your flow and opacity parameters once again on a pc right click drag and that will change it uh all right so we had our uh did we have it pick shadows recover softer and a bit bigger i'm not worried about it spilling over onto the sky because the sky isn't really a shadow so the brush isn't going to have a huge amount of change to that and then just a quick wipe like so now that's relatively dramatic good news is we've got an opacity slider so that's with no adjustments i just want a little bit like so now overall if we add a bit of clarity it's a bit too much because this i feel this gets too bright nice to add a little bit of clarity kind of where we feel it's best just a small amount now the good news is if we take ourselves back to india let's just delete that adjustment layer we had our c clarity layer which added quite a bunch of clarity and i don't think it did anything else so how do we convert that to so if we go to our style brush tool right click and say save style brushes oops david remove keyboard from the screen sorry thank you peter if we come up and say save style brush in the style brush tool then we get this dialog which asks us what adjustments do you want to save in this style brush so i want clarity which brush settings do we want to save in the style brush well currently how big is my brush that's probably pretty good now brush size is based on camera resolution so if this was a 24 megapixel shot and then i used this style brush on 100 megapixel shot comparatively my brush would be much smaller so just consider that if you are saving the size of the style brush in your style brushes those a lot of style brushes okay so i'm going to stick with roughly this size we've got a nice low flow set opacity is max as well so that's all good so i'm going to say save style brush we want clarity is good and then i want to save all my brush settings don't really need those like so so now my brush and eraser are going to be set to that size and say save need to give it a name so we call this add clarity clarity and say save and now under my custom style brushes we have add clarity clarity so let's take away let's go back to the usa click on my add clarity brush i'm going to make it a bit smaller because i've got a feeling this is a 100 megapixel camera let's see gfx100s it is so you see how much smaller that style brush looked so that's why the built-in style brushes don't have a default size set because we don't know what megapixel camera you're using if you like so add clarity so i'm going to add a little bit of clarity over here we can add some down at the rocks in front we can add a little bit just up on the background like so and i think that would be enough so if we turn off add clarity it's very subtle before and after like so just a bit of extra contrast down here that's kind of where our eye is going as well so we can be nice and subtle with it now with the blue sky this is where i didn't quite know what the best result was so if we go to our color editor and pick the blue sky we've got some choices we could go in that direction which lessens it a little bit which i actually like didn't seem that the majority like what i did with the india sky but there we go or we could go in this direction and make it bluer so your choice we could also make it more saturated we could also darken it to make it more dramatic i'm not a big fan of crazy big skies so my personal choice would probably be something more like that because it's a sunset i feel this isn't dominating the sky too much so i would personally do that but we could imagine argue about that for a long time about how it should look the best but that's what i personally would do but with the color editor the good news is you could go in any direction that you like you could also save that as a layer if you wanted to do other things to the sky as well but that would be my choice so out of all the million times i've edited this shot this is actually the one i like the most i think the only thing i might do is just crop off that bit of snow at the front was a bit annoying i think so let's go full screen for a second if we do before and after that's how we came out of camera before and after doesn't show compositional changes or the keystone tool because it would be very hard to compare and then that's after a few of our changes like so which had a good use of the various different style brushes so balancing up the front of it just match that in really nicely recovering some shadows in the rocks in the background adding a little bit of clarity kind of in this ridge that's going here and that was it and a few of our edits on the background of course namely with the blue sky and some of the default things how's that for timing not bad before you go i'm gonna launch a poll which i can't necessarily control uh when it pops up on screen so if it comes up a bit too soon or uh not soon enough then i apologize so you might see your screen get interrupted with that in a second um for those of you on youtube and facebook you're not going to see a poll but don't worry it's just me asking everybody what version of capture one you're using so feel free to put in the comments on facebook and youtube whether you're on 21 20 an older version it's just good for me to know uh for the future as well so i'm going to kick that poll off there as well while that poll is running on the webinar uh i'm going to look at the last few questions on youtube and facebook and then let you get on with your thursdays so let's have a look at the last couple of questions let's see color editor is a win terry says glad uh to hear it um when two people are editing the same images is there a quick way for the edited changes to be displayed in the tools so we can see what each other has done well you're always going to see the edits brian in the tools so whenever anyone is looking at a shot they're always going to see the slider slider values but there isn't a summary if you like of of uh total changes but that maybe could be something nice for the future as well um looking over on youtube lots of 21 users thank you very much thomas you're asking about printing there is actually a tutorial don't forget to tell us your users how to calculate dimensions to print a photo the good news is capture one does it for you if you look on our learning hub or youtube channel on export or process recipes there's actually a section on how to do that but if you want to calculate it perfectly if you look in process recipes here's a good example tiff a3 print let's change this to dimensions let's say you needed to do a print that was well let's not ruin this recipe let's do a new one let's say you want to do an a4 print the scale we would say dimensions um a4 is roughly 21 by 29.7 don't shoot me if i'm incorrect and the trick is thomas in the crop tool change this to output and then now however i move the crop tool it scaled exactly to a4 even i can squish it and then we can make a a uh a4 portrait or if i squish the force the crop down we can make a a4 landscape and capture one is calculating exactly what the pixel dimensions need to be the super cool thing is is that if we come out of the crop tool for a second is that also in the process recipe you can dial in some sharpening for print as well and that will be based on the viewing distance or it can be based on yeah sorry the distance as a percentage of the diagonal or the physical viewing distance that you're holding the print up but it's all all there in the tutorial thomas so look look for the tutorial on process recipes and we walk you through that um that's a good question could we have a process recipe that compensates for a specific output like a printer a curve would be nice what i would do with that um however sorry i pressed on the wrong question what i would do with that is of course you could do that as like a helper layer if you like so a helper layer like printer curve or whatever that that kind of thing so you could do it also as if you did it as a style brush you could then that would be nice so let's say this was a helper printer layer and then by default we could have a really big brush and it could have max flow and max hardness and then you could just brush over the whole shot and then that would be called my epsom p80 and then you could turn that on and off like so again this shot also looks nice nice and black and white should have done everything in black and white today um all right let's pick two more questions and then we can go um [Music] archie i have a micro four thirds camera can you give me tips on handling noise um i have a micro four thirds camera as well quite an old one now and it is a bit noisy so really your best bet is try and shoot at low iso if you can don't turn off the noise reduction remember this is a good default don't be afraid to bump up the luminance if you need to that's really your best bet and make sure um also that if you're on capture 121 make sure you're not using an old process engine as well if you're working on older pictures because the process engine on version 12 and as an example does not have as good as noise reduction as 20 in 21 so that's also something to keep an eye on but the luminance slider is your friend when it comes to noise reduction okay last question and i think uh we're good to go andrea says what's the best way to apply changes only on shadows without creating strange artifacts well like a lot of photo editing it's don't go too far i mean the sliders here so for shadows whites and blacks and so on have a pretty broad range but doesn't mean that you need to use them so if we look at this shot on our background layer if we open up the shadows and pull the highlights down yes we've recovered a lot of detail does it look pleasant not really so to be honest with these sliders you shouldn't really be getting any artifacts if you're using them with finesse if you like but if you do ever have any strange artifacts there's a couple of things you can do you can join our our group on facebook capture onecreativelab and lab and ask the community there you can make a support case and ask us uh there's plenty of other catch on forums as well a lot of the these things it's very hard to judge without actually seeing the picture and then we can definitely give you much better advice as well okay so let's go ahead and say goodbye to everybody so thanks for uh joining us today uh sorry we can't answer all your questions there was rather a lot of you if you are watching on youtube don't forget to hit the subscribe button please uh there's a good benefit to that if you hit the little bell as well it means whenever we go live on youtube which we do quite a few times a month then you'll get a notification half an hour before and also when we go live as well so do do that if you are on youtube it's great to have your subscriptions thanks a gallery thanks again everyone for joining us today i hope you found that useful and hope to see you again in the future have a good evening everyone and take care bye now you

Channel: Capture One Pro

Views: 9,625

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: WKe1pAlacYY

Length: 70min 41sec (4241 seconds)

Published: Thu Jun 17 2021