Capture One 21 Livestream: Quick Live | Community Edit November #1

good afternoon everybody or good morning if you're on the other side of the world thanks for joining today's live stream this is our first one in november and uh this kicks off really um community edit november i should say so for the next two or three live streams three actually it is uh going to be editing your shots from the community so we've got those picked out um already um and also coming up in november we've got a guest session with one of our ambassadors eric ronald so make sure you turn up for that too all of that of course is either uh pre-listed on our youtube channel on the upcoming playlist and also for the webinar with eric ronald our ambassador you can find that on learn.captureone.com as well so today nice easy edit but a couple of interesting things that we can pick out of it so let's have a look on screen so this is from whoops just managed to make a magic brush there without intending to so let's come back to that in a second so this shot is from uh scott gillespie so thanks scott for sharing your photo with us out of camera looks pretty good i'm sure you'll agree but there's a few things that we can do just to make it just that little bit better spider lovers or spider haters really i should say close your eyes because there is this dude hanging out on the leaf there so if you don't like spiders look away if we are around that part um so really what i want to do with this nice macro shot is a couple of things so first of all we can make a vignette uh just to focus in on on the leaves a little bit more and the awesome colors something that troubles me a little bit is whilst the selection of colors is great all the different colors is great it's a bit bright in the middle so you tend to focus in on that and not the whole shot which isn't good and then if we zoom in a little bit closer we can see our spider friend has made a couple of strands which you can see so he or she must be halfway through web building and to be honest they're a little bit distracting so if we printed this out nice and big as we could i don't think i'd want to see these so we want to get rid of those too and there's as they're a straight line there's a handy little tip or shortcut which we can use which you might not be aware of especially to get rid of things like power lines spider webs anything else that might be straight before we get all to all of that let's just dial in some bass corrections or adjustments if you like the exposure is pretty good i might warm it up just a little bit because it's ever so slightly too cool not much but but just a small amount crop wise i'm going to get rid of some of the negative space over on the left and just get rid of this branch in the top here because i think that's also a tad distracting and also perhaps a little bit more from the bottom like so looking at our levels um i wouldn't really want to make it any brighter i think it's nice to keep the nice darker tones so i'm not going to brighten it at all but we are just going to hit auto on our levels and i had a good comment actually someone wrote me on instagram said um when working with the levels tool should we always go with what auto says and it's really it's about being um sympathetic to the image that you're working with so if we just reset this for a second and then i hit auto yes it does add a bit more contrast but i think maybe it's just a little bit too harsh so in this case i'd actually back off the highlight slider a bit kind of okay with where the shadow slider is i just pull the highlights back a little bit because otherwise i think it's getting a little bit overcrowned contrasty norway says he couldn't quite see the strands let's have a look can anyone else see them let's uh just zoom in a lot for you there you go hopefully you can see that um i mean it's i'm at 500 which is a bit ridiculous but but when i was just playing with this shot earlier even at 100 it was a little bit distracting and certainly if you printed this out it might be something that would bother you okay so all we've done is just play with our levels adjust our white balance uh a small amount um let's throw in our we do the vignette later let's actually get rid of those strands now we think about it and we can talk about the the technique that i wanted to mention so to get rid of these and these spots which is probably other bits of spiderweb we can get rid of those as well so let's grab our healing mask brush is a bit on the big side for such a tiny dot like that so let's right click to bring up this panel opacity and flow are at 100 it's relatively soft but we can just get rid of that little dot like so let's turn off the mask to make sure we hit it in the right spot so we can get rid of those no problem at all i think there was another dot somewhere else we come back to our spider buddy in a second that's dirt on my monitor so i'm not going to get rid of that one okay so to the straight lines how do we get rid of those well the nice thing is let's just bring up a normal mask so i can show you actually what happens if you do want to mask around a straight edge or something geometric rather than trying to you know brush with your hands so if i'm just drawing a normal mask if you wanted to draw a perfectly straight line i can get it not too bad but to get it actually perfectly straight it's relatively easy if you're using a tablet but if you do actually want to get it absolutely bang on if you like drawing around a window or as i said something geometric and you do want to do it by hand and you can't use another tool like luminosity masking or using the color editor and you are restricted to doing it by hand then there's a very neat trick let's just clear my scribbles so if i just put a little dot at the start point and go to my end point and all you need to do is hold down the shift key and click once and then it draws a perfectly straight line so if i keep just holding the shift key down and tapping then we just get straight lines so if we need it to go around something just get rid of those like a window then i could do so and then to fill in the middle it's just easy to right click and say fill mask like so so if you are doing geometric shapes like that obviously i would make my brush not as soft because otherwise we get these kind of bumps in the corners but that way by holding down shift you can make a nice straight line so if we want to get rid of our spider silk here if we go to our healing brush let's make that a tiny bit smaller i'm just going to start the healing there like so and now i'm going to pull this beyond that leaf because obviously it's going to you know mask or use the source point in a straight line from one end to the other end when i make my straight line so i want to select my source point and do exactly the same thing i'm going to hold the shift key down on my keyboard click once down here and then we get our perfectly straight line if i turn the mask off then you can see it's got rid of that quite nicely whoops i don't want to do that one i want to hold the spacebar down now i want to do this one so i'm going to deselect that guy so um it's not selecting that one and do the same thing again so just start a mask there hold down the shift key and click across and then it's actually chosen a different source point with this one but it actually works just fine so maybe i should just let capture one do the brains and not worry about it too much let's hold the shift key down and do that and it's actually use the same point so it's just a lot easier for doing these straight things hold down shift let's see if we can get a mistake nope that worked pretty well let's do this one here i might need to make my brush a bit bigger nope it's got rid of that fine and here and here so it's just a really effective way of getting rid of straight things so as i said it could be power lines anything else that's straight in the shot we've got one down here as well so hold down shift click once then we go a straight line and away you go so simple excuse me so if you didn't know that technique shift click between your mask points and then you get a perfectly straight line so it works really nice for that healing brush as well so if we ever scan around pretty sure that's got rid of all our spider silk sorry spider but it's ruining our shot okay so next let's go back to my background layer i will actually just pull the brightness down a tiny bit i'm not going to pull the exposure down because if i pull the exposure down it's going to make the shadows down here a little bit too much on the dark side so brightness will just pull those mid tones down a touch so if i click on brightness you can see before and after so that's an improvement i feel and let's also add not much but just a few points of clarity okay so what i spoke about um [Music] in the morning sorry in the morning at the start of the broadcast was that these leaves in the middle was to like the variation in color it's just a bit too on the bright side so it's a bit aggressive so we've got a couple of choices we could select it with the color editor but i feel there's going to be a bit of crossover in other areas or we could try to use the magic brush let's just get rid of our adjustment layer we didn't need and then let's think about how we can fix this so i'm going to make a new layer and we're going to grab our magic brush and we're going to make sure we can see the mask because that helps us when we're working with the magic brush and now we want to just select the brighter area so it's kind of this this this to some extent this as well i feel it's just a bit too much now if we right click we're going to get slightly different settings for the magic brush so size we don't have any hardness if you like because the the way the mask feathers off is determined by the refine edge slider this one down here at the bottom so is it a very kind of binary hard edge when it falls off into the area which isn't going to be masked or is it going to be have a much softer fall off so let's go with something let's try around it in the 30s see how that looks can always change it again if if we need to and then the tolerance when i select part of the leaf that i want to mask that's is it very is it really only picking out the color that i've masked on or do we have a wider tolerance to pick up other colors so let's see so let's try so i'm just going to do a little squiggle in the middle here and then see what we pick up so that's not bad that's actually pulled out a lot of what i needed to notice i don't have sample entire photo on so it's only going to select pixels which are interconnected so if there was a similar tone like over here and if i had sample entire photo checked on it would also pick it up but let's fill in some gaps like so and that little tiny leaf there that's probably fine so if we look at the masking grayscale you can see what we've pulled out like that so i'm going to try that let's just go back to the normal mask and let's just cool that down a touch and we could do that a number of ways we could use exposure we could use brightness if we pull exposure down that's so you can see if i pull exposure down heavily obviously that looks terrible but you can see the area that it's working on so let's pull exposure down a little bit or if you don't want the darker areas to get as dark we could just pull brightness down might be a bit more subtle or a combination of the two like so let's go for that now if you feel you've overcooked it let's just call this layer leaves we can always play with the opacity as well so maybe around there is about right sorry question um from keith does shooting at uncompressed raw have any worthwhile advantage when it comes to processing depends a bit on the camera uh if you're talking about sony as an example i think if you look in the extreme shadows you might see a benefit if you're talking about fuji it's probably similar real world testing is probably not much different and the only thing that i could think sorry i realized i was muted my mistake i'm back um what i was rambling on away uh with regards to um keith's question about compressed or uncompressed i would say um that it's a bit camera dependent uh now i can see that keith said that whereas keith said he had a sony a74 with the sony a74 uh looking into the extreme shadows you might see a difference but we're really kind of getting relatively picky i think i would say if um you're not worried about memory card space and you're not worried about hard drive spaced space then go for uncompressed the other thing that i was going to mention about um fuji is that if you're shooting compressed there's a slight time penalty uh under import because of some uncompression that we have to do with the file once it's in capture one but other than that there's not a a huge amount of difference i would say but as i was muted i was saying um for me you know paranoia keeps me sane i often say so i always tend to go for the uncompressed version if you like just because i feel more at home that i've got all the data i'm not worried about hard drive space i'm not worried about memory card space so i tend to do that but i think um do a test you know take 10 shots on compressed take 10 shots on uncompressed have a look at the difference is there really anything noticeable right let's get back on track again now that you can uh all hear me so i think i muted because i was gonna cough and didn't want to deafen you guys but also helps to unmute yourself okay so where are we the other question was um ralph was saying there's a dark spot at the top which he finds a bit distracting it is a bit actually i'm not entirely sure what that is could be a bee or something like that maybe it would just make sense to crop it out we could probably also heal it as well but to be honest that actually looks a bit nicer going in closer so what we did with our leaves layer here was to use our magic brush like so just to pull that down a bit and we could also i saw lorenzo mentioned we could also pull the highlights down a little bit as well so if we didn't do that let's reset exposure and brightness and we just pulled the highlights down it has an effect but it's quite subtle so it does need a little bit of something else as well but to do that by hand obviously would be super tedious i don't think you could even do it but it's easily solved by the magic brush and it's interesting to see you know lightroom has now added a kind of magic brush feature so you can either mask the subject or the sky and i think this is a good example of where there is no subject and there is no sky but some kind of intelligent brush is still actually very very useful so there we go okay um last or almost last thing that we want to do is a vignette so i'm going to add a new layer because i don't want to mess up my leaves layer and we're going to call this radial and we're going to grab our radial mask tool and where we start drawing that will be the center of the mask and then the mask will grow out from that as we move our mouse or pen and i don't want it to be just boring and sat in the middle so i'm going to hover over the middle line i'll tell you why we've got three lines in a second and just soften it by pulling that out so if i press m on the keyboard you can now see the mask so outer line is a hundred percent opacity inner is 50 and or the second one i should say and the inner circle is where it's faded to zero so that gives you a good visual indication without having to look at the mask really of how it's going to fade off so that's probably a better look now now again when we've got a choice um of changing the exposure of our radial mask the obvious thing to do is think oh i'm just going to drop the exposure like so the only danger of dropping exposure is that everything all the levels in the shot are going to get reduced by the same amount so the shadows are going to get darker the mid tones and the highlights are going to get darker so what you need to be a little bit careful of is losing detail in your shadows so what i would rather suggest you do is either to use brightness or use a curve but if we pull brightness down we can get a nice vignette without getting too heavy on the shadow areas like so and to be honest there's nothing to stop you if you feel oh you know my shadows are getting a bit on the heavy side you could always lift up the shadows a tiny bit or you could lift up the blacks a few points as well doesn't mean your radial mask has to be restricted to one certain thing uh peter says any plans to make magic brush parameters re-adjustable well don't forget it behaves like any other mask so if we wanted to right click and feather it or refine it we could do so after as i was going additive with our magic brush between each swipe of the magic brush you could change the tolerance or refine edge so if i had like you know a little hole that i just wanted to fill but i was worried it was going to spill into a neighboring spot i could pull my tolerance right down if i just wanted to add that small amount there as an example so you can change your magic brush settings between brush passes if you like and you can refine it as well you can put a luma mask loom range restraint on top of it as well so it is flexible like any other mask nicholas that's a good topical question i'm trying to figure out which macbook pro configuration to get for capture one um i think with all things like this spend as much as you can afford because it will last longer however i don't have it next to me but um even the 13-inch macbook pro m1 the the first release actually runs capture one super well so this this computer that we're broadcasting on this is a you can see it's a macbook pro 16-inch 2019 it is a pretty good system there's also an external gpu as well so i've got a big box behind it with another graphics card in it i would say the 13-inch m1 macbook pro is pretty close to the performance of this and that's you know without having an external gpu with another massive graphics card in it so it's pretty impressive in terms performance wise obviously the more you add you're going to get faster export times snappier response on the computer and so on if you want to read a little more about capture one and the m1 systems have a look at our ambassador paul reefer you might know him from youtube and some of the activities he does with us but if you just google his name paul reefer actually let me just type it in uh the chat or um diego if you're listening you could also if you look at um paul's website and his blog the last entry on his blog is actually about capture one and working with m1 systems and the kind of performance you can expect so just check out his blog but diego if who's lurking in the background if you can uh look at uh look at paul's website and drop that in then people can read it okay um so that answered peter's question um jdl saw you asking about a buying guide it's you know it's very difficult because everyone has different budgets you know it's easy for me to say buy the most expensive macbook but you've got to consider do you want a 14 inch screen a 13 or a 16 i personally will buy a 14 because i think the 16 is a bit too big to travel with but if you're not moving anywhere then go for the 16. is it necessary to have 64 gigabytes of ram probably not is it nice to have maybe so everyone's budget and requirement is uh is different so okay i'm just checking other questions let's see um just trying to figure out stefan's question but i missed the the first one uh okay um stefan says exposure warning doesn't work as the thing it takes the value of each color channel and not really the brightness not quite sure what you mean um basically the exposure warning but one thing to check you can see i've just got a little shadow warning down here have a look in your preferences under exposure and just see what values you've got set and if shadow warning is actually enabled as well and then what you're going to see is if any of the channels are outside of those values then you're going to get the warning okay so just be aware of of that but otherwise don't get too bogged down on it read the image of course if you have specular highlights that's fine or bright areas it doesn't necessarily matter if they're out of range because that will that's what we would expect if you try and compress everything into the range often you get a really flat and dull image so you have to be sympathetic to it as well okay um let's see what simon said if you add some magic brush to an existing level will that add any adjustments you've already made an existing layer i think you mean as you've just done with the leaves yeah so if i if i added to my leaves so if we just press m on the keyboard and we pick up the magic brush if i wanted to add these bits i'm just building on to the mask and it will actually include those adjustments as well so yes exactly that so if i go back and think oh we know it's a bit bright over here i could technically add that little section as well and it will add my adjustment which is pretty neat so if i turn leaves on and off you can see it actually took the the brightness down on that area as well so that's a good question simon um rainer good question rainer uh if a product manager is watching i shall mention this again to him how can i change the source area when capture one has chosen an area outside the cropped image you can't actually so if we did have uh you know with our healing brush let's go to our heel layer so you can see all my different heel points if it has picked something outside of the cropped area then you'd have to extend your crop to go and find it so i agree that is a bit of a oddity um it would be nice if it was solved it's just not probably super straightforward with the the logic that capture one has worked work with at the moment but it's not possible sarah good question sarah is there a way to remove the same dirt from two different similar images yeah so a couple of things you can copy paste so if we had uh you know the same shot oh and there we go we've got the same shot so if we let's just reset this one that's what i was messing around with a while back if i was to select the two shots and hit the copy paste like so i could then say i just want the heel layer so the copy paste is that little up and down arrow sarah so if i just wanted the heel layer then i could say apply and then it would put that heel layer across to this shot and then if we just turn that on and off there's the spider thread and then it's just done the same thing across to those shots or if you were just spotting if you like and using the i think i've actually removed it from my interface now it's over here the spot removal tool which is an older kind of healing tool that can only handle spots you could copy paste that across in the same way but generally the heel brush will give you a nicer result but any tool in capture one you can copy paste across in that way and that would work fine sarah okay um i think we've done everything that i i say we or i wanted to do to this uh image if we put before and after on we can see how scott shot it which was a great in-camera photo that's the the best you could expect uh all i did really was to darken it down a bit bit more earthier a bit more contra contrastier that's even a word um up the contrast in clarity slightly with our base layer or our background layer uh did our levels but was sympathetic to the highlights because i felt it was just getting a bit too contrasty if we went by auto so be sympathetic to the photo heel layer got rid of our spider threads which we can just about see down here so got rid of those as i feel they're a bit distracting and some other spots using the shift click method to make straight lines leaves was just to tone those down slightly using the magic brush now actually work quite nicely over there as well and finally our radial mask just to add a bit of vignette and focus as well so a great in-camera shot but as usual we can always enhance something good the only other thing we could do in is put a couple of points of structure just so we get lots of detail on the leaves and also our spider friend spider haters look away but he's he's very well camouflaged actually i didn't even see it when i was first editing this shot so it did make me jump when i first saw it oh there's scott hey scott uh only other thing i would have done is to tweak the purple up a wee brighter but great experience but got to jump dear scott thanks for sharing your image it's uh much appreciated but it's a great time of year for autumn colors for sure and exploring what you can do with them in capture one as well all right um i think that takes us nicely up to the end of our short session here so next week really looking forward to this one from omar which is a street shot this is straight out of camera but there's loads of scope for editing that we can do here so we're gonna look at doing that next week so i'm really looking forward to that as well i need to look at omar's edit to see what he has done and andre livieri uh andrea livieris olivieri sorry who has a fantastic youtube channel check him out as well this is a drone shot and also a really nice example for editing as well so looking forward to doing those couple of shots in the coming weeks but for now thanks to scott enjoy your pta meeting and to everyone else thanks for joining us and watching today as well if you want to make sure you don't miss out on the next ones coming up on our youtube channel if you hit the subscribe button and very important don't forget to hit the bell as well then that means you'll get a notification on your computer or if you've got youtube on your mobile device of 30 minutes before we're gonna go live and also when we go live ourself so if you make sure you do that then you're not going to miss out as well also someone asked about capture on 22 are we still having uh see if i can find the question i should have favorited it but i can't remember who asked sorry person who asked but are we on track for hdr and panorama for december yes we are and it's looking great so if you are interested in adding that to your workflow and of course the other things that will come for 22 then the best time to buy is now there won't be a better offer so if you look on our website it's already discounted so you can buy capture 122 now your current carry on using your existing product whatever that is but there's a good discount now for capture 122. which is automatically applied at checkout so if you do want to add those features to your workflow now is your best time to pick that up so thanks for joining me today hope to see you all next week where we look at omar's shot i'm really looking forward to that thanks again to scott and see you all soon enjoy the rest of your tuesday take care bye now you

Channel: Capture One Pro

Views: 6,617

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, color editor, capture one 21, dehaze tool, speed edit

Id: pfAIh-7Rvas

Length: 34min 0sec (2040 seconds)

Published: Tue Nov 02 2021