Capture One 21 Livestream: Quick Live | Wildlife Edit

good afternoon everybody welcome to today's uh short and sweet live session just on wildlife editing today so it's normally a popular subject so hopefully you will find it uh interesting if you have any questions whilst you're listening in on facebook or youtube do feel free to drop them in the chat and then we'll pick those up as we go as well so straight into it um there's a number of pictures that we can edit but i've chosen something which uh is probably going to be a little bit more challenging than just uh whacking a bit of contrast on or something like that so this guy is a maverick the young or pup hyena the reason why i've chosen this um there's a couple of him actually there's we're going to look at this one afterwards as well because there was a little neat editing trick in there which i think is good to share but the reason why i chose this one this is the edited results or you can see one of the edited results over different things i was trying but they've all come out much the same if you like but out of camera it looks something like this which is uh super hazy super flat i mean exposure's okay white balance is maybe slightly off um but it's not exactly fantastic out of camera now that's no criticism of the camera because the camera was doing a fantastic job of capturing everything at a distance if you're interested it's a fuji xt3 and the lens combo is the rather brilliant xf200 with a 1.4 times converter now that combination isn't causing this issue where maverick was sat after stealing his mum's lunch would you believe he was kind of in amongst the bushes there was a fence mixed in there somewhere as well so i was shooting through quite a lot of stuff if you like which has just caused that degradation and flatness otherwise that lens is you know it's an absolutely stellar combo and capable of you know pretty awesome out the box results without really having to do anything but that doesn't really present us with much of an editing challenge so therefore while choosing maverick being slightly flat and a bit lifeless so first of all i always like to start with the crop now he was actually moving around quite quickly so framing wise isn't necessarily perfect um but he was running all over the place probably as he'd stolen his mom's lunch um let's just unconstrain that so and we go for a slightly tighter crop like so i do prefer to start off at least with the crop in place i just find it a little bit easier so we know exposure is probably not too bad uh it's very flat so we need to fix that it's a little bit hazy so you know similar to the flatness but it's also a tad hazy so we need to get rid of that as well as you saw from the edit there's quite a heavy vignette on there as well just to focus in on maverick a little bit more and also because it's slightly soft we can do a little to sharpen up maverick the uh the hyena but not the background because we don't want to make that noisy or whatever so a few different real selective things that we've got to do so first of all let's deal with uh the white balance um i might leave it for now actually and see how it goes once we've done a few edits i'm conscious it just might need warming up slightly so let's just warm it up a little tiny bit but we might revisit that now if we look at the levels we can see really what's causing the flatness if you like is that we're missing information down here so there's not much in the shadow range and there's also not a huge amount in the highlight range as well so a simple way to fix that is just hit auto on the levels and then that's going to help us somewhat with the contrast as well already we can see it's improving somewhat now i would probably just pull down the brightness a bit i'd actually like this a little bit darker just because we've got some really nice rich color tones in there we've got the pattern on it as fur be nice if that stood out a little bit better so i feel going down a touch on exposure will help as well now because i've done that that shifted the histogram over to the left a little bit as well so we don't want to clip any data it will probably get too dark in the bottom of lunch here so let's just hit auto again that's better however it's still a little bit on the lifeless and flat side so a couple of simple slider fixes let's boost up the contrast all of a sudden it starts to come to life a bit i'm going to push that quite hard again let's whack up the clarity as well but now because we've been relatively aggressive with that we've got to be careful of the highlights going on here and not to lose any of the shadows so if i pull those highlights down and also the whites we'll see if that rectifies that just need to be a bit careful that's not getting too ugly so let's tone that down a bit and push up the clarity a little bit more is almost specular like bouncing off his fur but if i wanted to add any more contrast in then i think we'd have to do it locally but that's probably a good compromise shadow wise the only shadow really down here is in lunch so if we open up the shadows it's kind of affecting a bit too much of the shot if we open up the blacks it's a little bit better but it's still affecting some of the areas around here so rather than just ruin the shot for the sake of opening up the density here i think that'll be easier to fix just with a quick dodge but before we get to that i'm just going to bring down a little bit of fine tweaking fine with these shots it is a bit of a juggling act between these sliders so to find the perfect combination is sometimes a little bit of a juggling act i'm still going to open that with the style brush so i'm not worried about that too much for now i'm more focused on how it's kind of looking around here making sure this isn't too bright but also not too flat and we're going to vignette that later so that's probably about right now structure wise so we've got our structure slider down here now structured works really great on fine details like animal fur architectural structure landscape details those kinds of things it can be fairly aggressive so if we just go to 200 for a second and i'm a bit ham fisted with the structure depending on the size of screen you're looking at or the quality of the live stream let's just go 400 so you can see that extra noise if you like that's popped up in in the background so for structure or any other sharpening that we're going to do we're going to isolate that just to the important areas so that's another task but first of all let's open up this a bit because i feel it's a bit dark so we're going to use a style brush for that which i've put on a separate tool tab up here just because it gives me more space to see all the or at least a lot of the style brushes open at one time we're gonna grab dodge immediately go over to our shop and selected the brush for me as you can see here and then all i need to do is just brush over here backs and forwards and that's just going to open up that area a little bit it doesn't have to be much i just don't want it sitting in total darkness so if we turn dodge off and back on we can see what's going on let's just open up a little bit more in the middle there like so so that's fine doesn't need to be massive i just don't want it to that solid black it's a little bit distracting so that's just our first little quick fix second quick fix but which will have a major impact is to vignette a little bit now we can use the standard vignette slider down here if we want we can pull this down and that will do quite a nice job the only thing that's happening here is it's spreading a little bit too much here it's maybe just cutting the top of his ears a little bit so generally the vignetting tool does a great job but if you need a bit more control then it makes more sense to use our radial gradient mask so we're going to make a new layer and we're just going to call this radial or vignette whatever you want to call it going to grab our radial mask and then where we start drawing that's going to be the center of our radial gradient and it's going to burst out from there if you like so roughly we kind of want it around here middle line will rotate it so if i just hover over the middle and rotate and then i can elongate the shape so it's a little bit more focused on the right spot so we can always move this retrospectively so if it's not completely perfect don't fret about it too much so let's try that now we have lots of choices on how we want to darken those surrounding areas generally i shy away from using exposure because if we do exposure it's a little bit aggressive because it will darken all the tones down by the same amount so the shadow areas like just behind me or above my head if you like so just up there will get very dark quite quickly now if that's the kind of aggressive vignette you're going for that's fine but you've got a couple of other choices brightness tends to work quite well because that would just pull the mid tones down and we could always open up the shadows a little bit if we wanted to so brightness does a nice job double click to reset and don't forget if you want full control you can also play with a curve so we can see if i just hold my cursor over here the bulk of that background is sitting around here so we could pull that area down like so and do it that way so lots of different choices to keep it simple let's just drop down the brightness and if it's a bit too aggressive then we can always open up shadows as well like so now if this vignette isn't in the right spot then of course we can just go over we can move it around to where we think looks pretty good so i'm going to go for something like that so if we turn off that layer that actually makes quite a big difference to the shot if we think it's too much of course you can just lower the opacity but i'd probably go backwards and forwards quite a lot trying to decide uh what was the best and if we turn off our dodge again you can see it's just brightened it bit now because of the vignette it's probably darken that a little bit more so i'm just gonna add in some extra dodge as well just to counteract what the radial has done as well equally i could go on to the radial mask if we press m on the keyboard it's not quite touching it so we're pretty safe um augustine that's a good question why not using luma curve for vignetting instead of rgb curve we could actually that would probably be the better choice to be honest because if we were darking darkening this background a fair amount then by using curve it might start to over saturate a bit too much so using a luma curve would actually make the most sense as well so good spot so if you do want to use curves then try to stick with luma for this particular task doesn't negate the use for curves otherwise so a couple of other things we can do so we talked about sharpness so it's pretty sharp it's uh i have to say it's an absolutely stellar lens uh if you're lucky enough to own one i'm very jealous i just borrowed it um but it is an absolutely stellar lens and super fast autofocus but we have lost a little bit of the sharpness due to fence maverick hiding behind the bush moving a little bit all that kind of stuff so what we can introduce is a little bit extra sharpening or structure to that but this lovely out of focus background we don't want to increase any noise that's there so first of all i'm going to make a new field adjustment layer and we're going to call this uh sharpen maverick like so oh maverick i think that's how you spell it um and we're gonna look at the shot and we're gonna dial in a bit of extra sharpness so first of all i'm going to boost up the sharpness on this area now i'm at 200 so you guys can see what's going on normally i'd just stick to 100 but just so it's a little bit easier for you to see what's happening i'm going to go up to 200 and boost that up quite a lot now if we want to see what it's doing we can just turn that layer on and off so the benefit of having this field layer we can see exactly what's happening i'll also check some of these more you know intense areas to make sure it's not too much this slider down here halo suppression is really handy actually because if we start to see it getting a bit too aggressive we can pull up the halo suppression but still get the benefit of the extra sharpening so now if we turn this layer off and back on you can see the change in what's going on with the sharpening now i said i don't want it to apply here because it's starting to make that lovely out of focus background uh a little bit noisy so let's just focus it where we need it which is pretty much just in if you like this area so it's really only this section that needs sharpening because i imagine depth of field wise we're starting to run out of it just about here so there's no point really sharpening these areas as well oh let's also check if adding a little bit of structure helps too it might be overkill but if we just add a couple of points we can get a tiny bit more i just don't want to be too aggressive for that great okay so now that's over the whole shot remember so if we press m for mask we can see it covering the whole picture but we only want it really in those areas that i just defined so let's right click and say get rid of that mask we're going to clear it but we're going to keep those adjustments that we did and now we can grab our brush let's make it a bit bigger and we're going to up the flow i pretty much want all of that in relatively quickly so let's just do a little brush over this area like so top of the meat as well or breakfast i should say and that's probably about right and then if we turn off our sharper maverick you can see before and after like so so it's got all the good stuff like the hairs on his ears and everything um but we're not encroaching too far into our background so this lovely soft out of focus stays nice and lovely and soft a couple of other things to to finish it's slightly dark on his eye i would say so i'm going to grab the dodge brighton again uh and we're just gonna go let's zoom in a bit just gonna brighten up his the front of his face a tiny bit like so and do something which you might find slightly strange so you can tell me if you think this is a good or a bad idea there's a catch light in his eye but it's a little bit hard to see and um good wildlife photographer andy rouse uh check him out on instagram wild man rouse i think it was andy who told me if it wasn't you andy it doesn't matter you get the credit anyway that obviously with animals it's always good to have some kind of catch light in their eye if you can because it just makes them more alive and so on so we've got this very tiny catch light here but it's a little bit small so what i'm going to do is just fake it so i've grabbed my draw cloning mask and i'm going to pick just something bright so let's go for top of his ear if i hold my option key down i can borrow that as the source point and then if we go over to where his catch light is and we've got a nice low flow i might even make this even smaller we can just extend this catch light a little bit now that's a bit aggressive so we're going to turn opacity down until it's not quite as crazy as that like that and then we've just got a bit more of a catch light that when you're looking at it you know normal size it's just a little bit more interesting than having no catch light whatsoever or enhancing that catch light slightly so for me i think that works on this shot obviously we'd have to be a bit careful on if it was a close-up then you wouldn't get away with faking a catch like that like that but i think at a distance that works quite nicely so that shot is pretty much almost done i would say um we've got our clone for the catch light we've sharpened it we've got a radial mask and we just brighten that up a little bit as well now on just on the front of his face here see it's slightly lacking in contrast because i think there's a fence wire in the way but for this shot it doesn't bother me too much but on another shot we're going to look at in a second we won't do the full edit i'll just show you the fix it is actually quite easy to get rid of those things but let's stay close up if we turn on the before and after you can see you know just how flat it was coming out of the camera and i would say don't ever worry about getting a flat image out of the camera it's probably better than getting a overly contrasty one because it's much easier to add contrast than necessarily recover it so i was pretty confident that we could get you know a nice shot out of this even though it wasn't necessarily the best environment as well so absolutely stellar lens combination to to to grab that um and if we just look at around here the sharpness is really nice that would print super good but we haven't jeopardized any of the nasty background as well so what i was talking about with like the low contrast across the face if we look at this other shot of maverick legging it with the lunch again you can actually see some of the grass blades here which were you know somewhere between myself and um maverick so god knows where and it's they're a little bit annoying but there's probably not much i can do about that but if we have a look at this adjustment layer and we turned that off then you can see right through the middle of the shot was a bit of a fence panel i think it might have actually been the top of the fence i can't remember off the top of my head if we look at the mask it's just a line like this so let's try and recreate that so i'm going to delete that and we'll make a new layer and we call this hide fence and there's a little trick which you might not know with the draw mask brush so this one here the very first one is that you can actually draw perfect straight lines so first of all i'm going to try and make my brush roughly the same dynamics and we're going to do full flow roughly the same dynamics as that fence line so probably slightly bigger something like that so if i um draw a little mask just a blob like that so if you can see the mask in red now to draw a perfectly straight line all you need to do is hold down the shift key so if we hold down shift and i'm going to go all the way over here and i hope i've roughly got it right and click once like so and then you can see we get a straight line so is that in the right spot it's probably not bad actually let's try so we can see it's a little bit flat a little bit whatever so can we fix it by adding a bit of contrast it's pretty much does it maybe a bit of clarity as well we've got to watch the highlight on the end of his nose um so let's pull is that doing it yeah like so so we've probably got a couple of choices can we pull the highlights back nope it's too too aggressive so what i'm gonna do is grab the uh erase brush make it smaller and then we're just going to take out that correction on the end of his nose because that looks better flatter actually and now you can see like so might be too much but let's just pull the opacity down and i use that trick on a few shots actually now it's not 100 perfect but it does actually get rid of that annoying fence line straight through the middle so looking at that shot you'd uh never know it was there really gabrielle says i like that trick yeah that was just a really kind of lucky find that one uh would um d haze be good for that uh it might be let's try it so what do we have on there just 27 contrast so if we add d haze yep d haze does a nice job too like so works pretty nice as well maybe even slightly better to be honest so if we turn off the hide fence it is pretty imperceptible to be honest so yep the haze works nicely too i wondered if that question was going to come up what if you use d-haze in the first image it wasn't bad actually but it wasn't quite what i wanted so if we just make another clone variant oh sorry not clone let's just reset that one and we use dehaze i didn't quite like the effects on the background so first of all we had to be quite aggressive so i'd probably want to go to about there but i wasn't quite sure about the color on the background but it's actually not bad to tell you what if we grab let's grab um if we do copy let's grab our clone layer the sharpen and the radial well let's just put all these layers across and see what happens so there we've got um and let's put the crop across as well good experiment i like experiments uh oops no wrong button this one so now we've got this version and then we've got the haze version at the bottom so i would say because we've dehazed everything it's a little bit on the flatter side but it's not bad it's actually also pretty good so for this shot we would need to add actually our basic stuff in as well so what did we have on our background so we had a bit of contrast a bit of clarity like so you can see the colors shifted a little bit but maybe with the d haze tool if we re-pick our shadow of our meat that's actually improved it a little bit as well so both works really not much to play into it maybe we've lost a bit of shadow detail no it's almost identical so another another avenue to do it as as well that's a really nice demo of the dj's tool to be honest um but that just goes to show in a raw converter there's you know hundreds of uh different ways to get to a similar similar result so equally whatever you chose both would have given us a a nice little touch of maverick here to be honest like so slightly different but you know if i printed those out and put them in front of you you'd probably be happy with either of those so thank you that was augustine's tip good one um another thing that i just wanted to point out before we finish as we've got five minutes i mean most of these edits relied heavily on not a great teal but you know see that one's pretty good out of camera so it didn't have the issue of shooting through a fence so it was just much simpler to process so no big dramas there what i did find especially for these guys sorry to embarrass him live that using the heel brush was quite good for hiding various things that might be distracting in a picture and so on or like flies on their face or or something like that you can see another angle which uh wasn't quite so attractive uh this guy here mighty lion uh this one out of shot again in in a wildlife park you're not necessarily in a position to have the best lighting you know have the best background all that kind of stuff you're just happy that of course they're sitting still and you can see them if we stick on the before and after the lighting was kind of wrong on this guy because we wanted to have the light going on the face so if we look at the layers palette for this one and extend that out there's just a healthy bit of dodge and actually over here top uh marks if you actually spotted something but there was actually a little bit of fence in the background which kind of destroys the illusion of this guy sitting in its natural habitat but with the heel layer if we turn our heel brush on and look at the mask we just grabbed a little bit of stuff from over here and it was random and enough and out of focus enough to actually blend in really nicely with the background as you can see so the heel brush is really handy for all these edits as well pavel says no red panda so red panda the reason why i didn't do the red panda is that it was relatively easy to edit i think this is all the yeah this is all the same shot a different one it was a little bit over out of the camera as you can see but no trouble to recover that again if we look at our um layer stack we've got radial mask again just to hide some of that background a little burn because the sun was super bright at this point and was catching the top of um his or her head and then opening up the shadows i think there's just a tiny bit down the front here like so but that was actually a pretty easy edit i didn't think you'd really be that impressed with mucking around with that one there wasn't a huge amount to do equally for this one it's also pretty spectacular around the camera just a little bit too bright but otherwise that's an easy edit so you win some uh you lose some in terms of um how good it is out of camera but i have to say hugely enjoyed mucking around with the long lens which i don't get much opportunity to do so um two minutes so the only thing i would say about this guy i would think and a really good lesson is that when i first edited this it was late at night and i was in a dark room and it came out probably something like you know exaggerating but like that so don't edit in a dark room i learned that lesson and the one i put on instagram actually came out a little bit too dark but um i think again this is was a simple edit so not a super challenging one for you guys just some rough picks with um the various different sliders but together you know they make a nice little series if anyone's interested this is a mained wolf but it's not actually a wolf it's not actually a fox it's um a canine so it's a dog but even though it looks uh kind of hysterical with its long spindly legs and wolf tail and wool face or fox almost it's not a fox it's a dog so there we go all right that's enough animal information for today uh so i hope you found that a short little edit useful top tools for this really vignetting or the radial mask selective sharpening so you don't mess up that you know lovely background if you need to add a bit of extra sharpening in and then the usual suspects of the levels tool dehaze work very nicely thanks to augustine as usual just to get the image looking fantastic how to capture one so thanks for joining me today uh of course if you check out um [Music] our youtube channel you can always see what's coming up live on the live stream playlist and also on our learning hub you'll be able to sign up for webinars that are forthcoming as well so do check those out and don't forget to subscribe to youtube as well because this way you'll always be notified when we go live and if you click the little bell or look we can run the animation so hit the subscribe hit the little bell next to it and that way you're always going to know when we're live as well so do so thanks everybody and i hope to see you again soon take care and bye now you

Channel: Capture One Pro

Views: 5,459

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: khbDBtSvqr4

Length: 33min 32sec (2012 seconds)

Published: Tue Sep 14 2021