Capture One 21 Livestream: Talks | Editorial Workflow with Jan Wischermann

good morning or good afternoon everybody welcome to today's webinar which is going to be with my very special guest and capture one ambassador jan weissermann we say hello to yan in a second uh before we get to that uh for those of you in uh the webinar room uh welcome and for those of you on youtube and facebook welcome to you the whole purpose of these webinars is to be interactive so if you have any questions either put them in the youtube uh chat put them in the facebook comments as well if you're in the webinar room you would see on the right hand side that you've got a chat window which most of you have found so thanks for for being interactive and there's also a separate tab for q a so if you have a question for myself or or jan uh please put them in the q a and then that way it keeps it separate from the chat and it's easiest to follow we're run for about 60 minutes uh maximum and i'm sure we have plenty of things to look at and and talk about as well so without further ado uh let's go and find diane and say hello hey ann how's it going hey hello david hello everyone good to see you so thanks thanks for joining us today and you're based out of germany if that's correct absolutely yes i'm in dusseldorf in the west of germany and we have a sunny day no we don't [Laughter] always the way [Laughter] excellent so you are a capture one ambassador yes um and before we get to the editorial that we're going to look at in capture one today uh i think it makes sense if we talk a little bit about who you are and what you do so i've just brought up on screen um your portfolio if you like so perhaps you'd like to give us an idea of the kind of work that you do in the industry absolutely well it's i think i put together a quite uh good mixture of uh the the topics that i deal with which is mainly um beauty and fashion editorials and uh commercial work and i guess if you just start flipping through i can give some some insights on all the images well this one has been a recent editorial that uh my friend pair florian uppergrin a photographer from cologne germany who we also have as a supporter in the editorial that we are going through today shot in in cologne and this is for harper's bazaar and i guess there is one or two more in in this series you know in this series and yeah we we decided that it would be good idea to also feature those shots in in a few uh tutorials we go back and those can be found uh wait wait we speak about that later but those can be found on my youtube channel and there you can see some full retouches on those for those who are interested great and if we go to the next one this is uh the latest beauty editorial that we created for l magazine and this is about candy and colors and if you go through you can see that it's quite tasty some chocolate eyes it's a great shot yeah and uh also some um what why is that i think some some candy balls and yeah it was it was fun to work with yeah it's great materials and just to clarify your your you know involvement in these shoots is is for the post production the the read search oh yeah yes i'm not the photographer i'm the the retoucher and post producer so um there's always two things uh i i do uh either it's being part of the shoot and i'm on the set which is uh what we uh have in the in this um in this webinar what we do today uh but in these cases uh pear and his team they created these images and passed them passed them over to me and i did all the the retouching and the final touches on this this is a this is another one with decoration in the face it's from amin mobach he's a photographer from hamburg germany who also runs the tush magazine and this was a editorial that i retouched for him it's called you got to be proud and it it features the queer community excellent oh and that's a good one this one's this one's too from that series and the next one also no it's not in there anymore sorry you cut one out and well this is a completely different story this has been a portrait of christopher doyle and it was for the new yorker magazine and it was shot by the berlin-based photographer olaf blecker who is a very well-known portrait photographer and he's been in the industry i think for 25 years now or maybe a little longer and but he's a he's a really nice guy and he's he's known for his iconic style and it was a pleasure to have this series with him and also i guess but let me just see what the next one is i think everyone recognizes this guy yeah yeah yeah that was for a man's health cover story on um on what i don't actually know what it's called in english but the the pre-examination to avoid having cancer okay yeah yeah and he was building awareness for uh for this treatments that men should have at a certain age fantastic yeah this was the commercial project for ddb and it was um to to it's it the english title was highlighted remarkable and so um it was highlighting the the parts in uh in the image that have been like the most important and in this case uh it's the u.s first lady right took presidential um duties when her husband uh had a stroke roy's case and so that was the idea of the campaign and it has been uh pretty heavily awarded for that yeah no it's a great idea great feature it was it was a great work all right this was also with olaf um and uh you to know that i am i'm having a strong um uh highlight what's that um strong um i'm lacking a word yeah i usually work with a lot of hair okay the pretty opposite of this yeah i don't i don't have so much of that to work with either so but this was a guerrilla campaign for a tool store hornbach it's quite big tool store in uh in germany right and they they put it all over berlin to um it's called the crown of the makers if you want to translate it right and it was a it was a really nice work also with olaf yeah and then this was i remember this one this was a heavy lots of composite work uh on yours yeah it was yeah it was it was a big composite work out of i don't know maybe 20 images it was put together to create these campaign images for mila and did that together with my team back at a pretty on point when we were working on those and uh yeah it was a lovely work it was i don't know it transported into so many different formats like this wide and everything for huge um for huge billboards and also uh time it was quite a challenge but uh it was worth the effort and uh it was a success it was a lot of fun and this one when we were chatting about this yesterday super interesting because for me i assumed you just got all these superstars in one place at the same time yeah with an iphone yeah exactly perfect anyone can do it yeah you know it's it's it's a complete different approach actually and i've been doing that with uh with a friend of mine michael good from dusseldorf he's a photographer here and we've been well this is the club of dusseldorf not very successful but this was actually their return to the first league so we were like working with them for over seven years and eventually they made it to the first league of germany and it was a lot of fun then to go to the old stadium shoot the back plate and have the the players in in the real stadium like in the where they used to play their matches and have them um shot separately in five different positions and then we like put them all together in in photoshop and had also like some some shadows and lights rendered in cinema 4d and so everything came together here to create this poster in a very short amount of time because they have like when they have these these team dates um where they shoot the players it's very close to the start of the season and from there um there's always a chance that this player gets sold and you have to be very modular in this to be able to change this so this was a short um walk through through um the variety of jobs that i do yeah fantastic and then we've got your your details we've put these up at the end of the instagram end of the live session as well so people can know where to find you and and connect with you so to the shoot in hand it was for this editorial so we're going to look at a few of these shots in capture one and go through some of the their editing uh process absolutely but perhaps tell us a little bit about this editorial so we can see it's for elle but it was uh for el thailand as i understand yeah it was and uh the the editor of thailand is living in cologne right now and um so we uh pear and him they are uh working together very closely and um so we decided uh to have this shoot in uh in in a forest uh near near lake in close to cologne and bonn and which are two cities even near dusseldorf and we had this this nice model from the netherlands alice and we we had this whole day outside in the nature and uh dresses from chanel fendi and uh what was the other louis vuitton and some others all the typical camping gear that what that and we had this nice land rover and this is all these beautiful props and it was a a really fun day and our goal was to you know use the the time of the day to um have this oh what happened there oh i don't know hang on let's try the next one there we go that's better and so we we went from starting in the early midday to to the evening and moved ourselves through the area and there were some really nice sets that we located before you you must know that there was a whatsapp chat where the whole group of all the people involved in this production were together and i think in the end it was more than a kilometer long at least it felt like that and we had all the dresses discussed the locations and we were discussing when to wear what and so there's a lot of going on in the pre-production and um it was nice to get to know everybody that was involved and from there we um pair me we had some ideas on how it should look in the end and um so we decided that um we will make it uh that way that i'll be on set and i was um working uh right next to pear having capture one uh ready and he was shooting tethered uh and we had this iwork case and uh some some guy were holding an umbrella so that we can actually see it well we can actually uh we can see that this very sunny day we've got a short bts clip which we're going to plane yeah absolutely so which uh people will be able to see you know you actually involved in the tube as well it's only about one minute long something like that so we roll that yeah yeah sorry sorry nice uh i'm sorry uh it gives a very nice um like look and feel on how the day went and how the mood was and yeah i guess it takes you all behind the scenes exactly that's why we did it so we'll play that and then once once we've been through that then we switch over to capture one and look at some of the editing so let's go right [Music] [Applause] [Music] [Music] [Music] [Music] [Music] there we go so that was gives us i gave everyone a brief insight into the uh into the shoot and they saw you in action there as well so onset working uh alongside him so um yeah in this case it does make a lot of sense because we had like nine different outfits or ten and uh you cannot really go back once you did it and it's good to check yeah at the same time while you shoot so um what i would like to show you guys is um how we came up with the with the look and exactly how the look we wanted was defined so if you take a look here this is the straight out of camera shot and um pear and me we agreed on on a look that has like kind of a retro feel and very smooth tonal transitions from the shadows over the mid-tones to the highlights and also a color palette that we can transport throughout all the images that we have and um so there were a couple of things that needed to be done and i have a i have a certain order of uh steps that i that i usually do and um this makes it easier for me to to actually walk through um and step by step build the look and um i'm gonna explain it to you now and so the first thing that i uh that i do most of the time is to adjust the color temperature and therefore we have this slider here and in in this case we wanted it to be a little warmer since we had to shoot a little earlier and what we wanted it to be a little later in the day so we went to just something like um 6100 let's let's go here and also shift uh the tint slightly more to to the red like so and um from here um the first thing that i always do when i'm working with pear and he he has the goal to have this very soft image tonal wise and these smoother transitions is to take down the contrast which has a nice effect let me just move this window a bit here i can zoom in a little bit so that you can see a little more um so if we take down the contrast to maybe minus 20 so the the transitions are already uh smoother and we reduce uh the highlights and uh and we soften the shadows uh a bit it is actually working with the clarity slider and we've been discussing about that david yeah yeah it's quite interesting because in this case um it's the classic method is it's going negative exactly and so we take down the clarity to about -10 and the structure to about -30 and if we toggle this now with the alt button and clicking this arrow here you can see that it smooths smoothes out the the image even more and i don't get confused by that we introduced a little contrast later but this is just to prep the stage so to say and this is exactly what's uh what achieves those tonal transitions from shadows midtones highlights to take all this out and um yeah because normally you know we're you know as capture one as a company we're always talking about sharpest picture you know finest detail all of those kinds of things but often in this kind of editorial you don't want to see every skin poor and you know fabric detail or whatever it's it's much more about the mood and so on yes and we're going to get to sharpening a little later and i tell you why i do what i do might surprise someone but there's always a good reason for that and okay so next step was to enhance the exposure let me go to show you the full frame again so in this case i think is it no it was sorry uh i have to use the point right [Music] and just one plus so what's that i'm moving it like so yeah without the plus it would just consider it positive so there you go yeah now it's a little lighter and now we gonna counter that with the hdr slider and we are going way down take the the highlights down which shows more of the sky we don't want to lose that and we're going to take down the complete white slider this is what we usually do in these kinds of editorials it it just brings back the lake and the the sky and also the the skin is a little nicer this way and we're gonna um open the shadows a bit by let's say 10 and also the black point is going to move up so that we have some detail down here in in the pans and in all those dark areas and i guess in this case we should just a touch put a little brightness up let's see i i like to you know use the slider to go way way in and then slide back to the amount that i like and i guess we are good with two or three let's go for two it's just a touch but it it does something into the image absolutely when you when you go all together with all the settings that you did and i'm going to take down the saturation a bit so if we take a look what we did so far it's it's quite a lot but it's lacking the contrast and the contrasts is going to be introduced by using the curves in this case and first thing that i want to do is set a few points on the luma curve luma curve for those who don't use it regularly just deals with the luminosity and you can introduce contrast and don't affect the colors as much or at all and uh i'm gonna just fix those um those points here some like so and maybe a little maybe a little deeper here like like so something like that so just to keep it there and now i'm gonna lift the black point and it was nice that you told me damn it i always used it like with the with the mouse but you can actually use the keyboard yep use your cursor keys just uh jog to be at one point precisely yes to be super precise yep oh by the way the um the contrast slider got reset accidentally i think under exposure uh some eagle-eyed people pointed out oh yeah there we go very nice of you thank you so i think i took it out by 20 or so yeah yeah something like that let's go to 20. thank you i like thank you to martin who pointed that out oh great martin thank you i think i would have been confused when it was since it was closed all right okay and now we're gonna go to every single channel and um play with the contrast and to bring it back in and i i like to do it uh just point by point and i'm gonna i'm gonna move as i go like um so working in the individual channels with the curve this seems to be a throwback to like someone like yourself who's experienced with photoshop they're always straight to the curves like we see that with zoe noble who's you know a friend of ours as well when she's color grading or adding contrast it's always the curves so it is yeah it is yeah for for the more photoshop experienced people and for someone like me who's less experienced with playing with curves we tend to you know go to the color balance tool and and so on but i guess for you this gives you the control like absolutely finite control over the whole tonal range yes and this is a very important aspect um if i have learned one thing um in in over like 20 years of using uh capture one or other tools to to develop images or photoshop to work with them was you need to always make sure that you have absolute control over the image and you need to know your tools you don't have to use them all but you need to know how to introduce contrasts individually to colors channels and you need to know the channels to you know be able to get the maximum out of what you want and um so you're absolutely right using using uh curves is is something that everybody should get used to because it's not that difficult if you mastered it once maybe that's a good a good subject for something on your youtube channel yeah we could we could go deep dive into curves that's a lot to talk about actually that's a good that's a good thing yeah so we we go by uh channel by channel and um i introduced some contrast here in red it's just a basic s-curve in this case but those s-curves that we are going to introduce are slightly different um it's not super important that you have to get the exact number so now that you see me working with numbers uh you don't have to do that it just it's about the feeling that you get and you have to always take a look at uh at the image and see what it does so we it's more or less balanced but uh in for example in the blue channel later there's uh i think one or two points more in it to have a little more control in the in the shadows and highlights uh but it all clicks when you like finish all three channels and if you work with the luma curve separately what i did here is uh just to you know be able to make sure that the details in in the shadows don't get lost okay so let's move a little faster here and uh so we we we will go um i think in this case with three more or two more um like it's always good to be somewhere around 120 uh to to have the the turning point and or in this case actually and here we go oh one too much so um like so and now we go to the blue one i will just put the points here quickly yeah i've already had uh a few people say uh i can't pronounce the name tripper helix would greatly appreciate deep dive tutorial so with bowman 227 uh we are pdx plus one on the curve deep dive uh so yeah i think there's enough uh there's enough uh people who would be interested in in watching that oh well that's great so you just come over to to the youtube channel later i just started it actually yeah and a couple of weeks ago and i've put up some some some uh videos there to you know get started and i'm always happy if if someone's interested and you know give me some suggestions on what you're interested uh to see and we can like like see if we can make it happen there's a question from martin asking if there's an option to copy the curve from one color channel to another which i don't believe there is not in my experience so no you can save presets so if you have you know a particular s-curve that you're going to use consistently you can save um a preset for the curve so it could be blue s channel you know blue s curve sorry green s curve or combination or you could pin uh you know four or five points to each curve as uh you know as a faster way as as well so there are ways around it but you can't copy paste from channel to channel maybe that's something for the research and develop exactly you never know but it's a good point uh it's it's uh where you can copy everything to the next image yes right yeah exactly just know between chat and that's exactly what we are going to do in in this editorial here so we have set the curves now and you can see that it introduces this nice amount of contrast and i just balanced it out prior to this and that's why i did the curves now as i did but sometimes it's it's easier to play with it but in in in regards to our time i just prep this so that we can go through this and next thing which is a very important step is the color editor and to to alter the um the different colors i don't know if any of you use this but it is a very powerful tool and even even the basic one allows to be very precise in changing colors and shift certain color ranges around and balance out this retro look that we were aiming for and i'm going to start with the red and i'm going to shift this more to the to the warm side of things i'm going to boost the saturation up a bit like so no too much 6.1 0.1 important yes and so the next i want to tone down the lightness a bit like like so something like that and what it does is it's probably not visible in this zoom stage but let's zoom in a bit it takes down the amount of redness sorry the lightness in the red and it boosts the redness that's what i wanted you wanted to have it a little more warmer and it comes together with the orange i will oh no the yellow exactly the yellow one um to to shift it slightly to towards green and take down the saturation a bit and also um take down the lightness of it and next one is green and let me zoom out again can you i hope you can see this it's it's rather small is it okay yeah it's okay you could could turn off um i think proof margin is on which is what makes it smaller um so that's hiding under your color balance uh stack there yeah if you move your color balance trio uh yeah that guy all right there we go i must have clicked it accidentally there we go okay so perfect i was wondering what that was i didn't know it's a strange feature that um i guess the intention is it just gives you a bit more air around the photo which is sometimes nice for for framing it against the background but it does reduce it in inside so yeah okay so the green one is going to be actually the most intense because the green is too intense if you want to have this retro look and we want to take down the saturation about here and if you see what we can do here now i just want to bring down the lightness to frame the head a little more and you can see that the emphasis is but in in retouching maybe that's a good way to a good thing to point out is always to balance out light and shadow and to balance out colors to guide the viewer's eye towards the message of the image and in this case it's of course the fabrics and the model and it's always the face so we want to make sure that other areas don't take up too much attention in it and um one uh one good way to to deal with this there's actually a great question on that um from jonathan is it important that the garment looks the same in the magazine as on the rack um i.e not as red as it was in the magazine so i guess the color matching is irrelevant in this case isn't it well it's that's an absolutely fair and good question um because it is uh relevant in those cases when you have a catalog and you want to and you want to show the fabric isolated and but if you do shoot it in an environment and you use the color grade to you know work with well it color grading is also about color and psychology and since certain colors in certain regions of the world have different meanings you need to make sure that you deal with a color harmony that works for the recipient market and that was one really nice learning throughout my career that this is a great thing um that you once you master it that you understand how color theory and color grades and color harmonies work you can apply those to images and it's it's kind of learning to see you know and um the question is uh good in that sense that in i guess it's not too important uh once the color the colors shouldn't be off completely right so don't twist them around but if you work with a warm grade and take down the saturation um then it is absolutely fair and accepted to do so good all right well you can we've got a couple of other questions so i'll let you continue first throughout the color editor and then i'll throw those at you as well and with the blue one also um i want to shift it to the more science side of things here um go to about i don't know something in the 30s 20 or somewhere here maybe and also the the set no sorry too much wrong slider saturation needs to go way down so that the sky is not too prominent or was it let me check what does it do it's it's quite subtle but let's keep it somewhere here and uh also let's take down the lightness it's in the dress can you see yeah very clearly the color in the dress needs to be shifted a bit and the only one left is purple and i want to bring it a little more to life like so and take this out well so this is color editor and i guess it makes a huge difference in this image to balance out that green and warm colors and also the blue to not to be too prominent and kind of merged together yeah and this is uh this is the main goal in in this color gray so we have to to sum it up we wanted this nice tonal transitions we wanted to introduce contrast after we balanced out the the lightness and the shadows and the mid-tones and then we wanted to have this retro kind of feel in in the color grade and in this editorial that was the only color grade that we did later in in photoshop there was just a few touch-ups and some sharpening and grain and uh this is exactly the next steps here you might be surprised but um i always uh we once we uh discuss the look with uh oops with the editor we always introduce grain and let's maybe take this one because screen in this kind of images makes always a really nice finish and we like strong grain in this case but once i uh once we we are committed to a look and we discussed it with the magazine we take it out again and this is just the only reason is that grain can also introduce um some some parts that you need if you especially if you retouch skin or fabric and there's too heavy grain in it you have some issues retouched and so this is why it's added later and the same goes for sharpening if you sharpen in this stage it can make it harder to retouch skin and but it always depends and but in this case i decided to take it out to be um to be very flexible after retouching and i think that's fair enough as well like if you weren't going to photoshop if you were going to wrap up you know an edit editorial edit completely in capture one then yes i i'd you know argue against you and say then yeah add the sharpening add the grainer as you see fit but if you need to do further things in photoshop like i remember when we were chatting about this the label on the net you had to to take out as an example yeah you know you know have hair and a few other bits and pieces then yeah adding grain at that point just doesn't yeah doesn't make sense and makes makes your job harder that's true yeah and um so now this the grade is done but there's a few things that i still wanted to do since i could and um it was working with those nice style brushes and maybe some of you have tried those already if you didn't you should take a look because i think you when did it come with the lid style brushes came in point two i believe don't quote me on that um but it wasn't in uh it wasn't in 21 when it launched it was you know a couple of uh versions after that so yeah yeah so there are those built-in style brushes you think that you find them yeah around in this i think what's that called adjustments yep tap and uh on this under style brushes and what i want to do is light and contrast and i want to use the dodge and burn features to make sure that we have enough information on the left side of the face and i want to take down her chin a bit since this was a point of discussion and uh so we gonna do that now use the dutch and brighton tool and it comes with the brush and what i like to do is take down the opacity pretty much and uh use a lot of flow and um so i this way i can build the effect up and i'm going to use a smaller brush size and since it links with the layer we if we jump between dodging and burning we can you know we don't have to change the brush size again and uh can i yes with control and option i can shrink it down handy yeah yeah okay let's see not don't we won't don't want to go too far but i'm going to brush it in very gently just to light it up a bit and we need to counter part the burn one my microphone is in the way here so same thing burn did you create the new layer you should do if you check your layers tool this is the dodge one and now it starts adding it when i brush it right correct yeah i just wanna even it out slightly it doesn't need to be perfect but it sets a good stage and since we have a full amount of colors and and tones here it does make sense to do it in that stage i could do it also in in photoshop but i think we have a little more control over colors here yeah definitely and working on the raw data is always going to be more reliable as well yes so like so we got it and um this was no this is the dutch one is it which one the adjustment layer one i've got a feeling dodge didn't take actually oh let's do it again um go back to this tab take the dodge one and now it yeah now it works there we go okay now we even these parts out no it's gone again where is it good question did i do it okay this one touch yep right and now there we go okay i want to lighten the face a bit on this side that's got it let's see if we went too far we can always take down the opacity a bit and this is a handy feature which i enjoy pretty much and i i think i use it on almost every layer yes it's the same with using the sliders you know just do something and balance it out later and gives you so much control over it and can only encourage everyone to to try it all right so i think we did a good job on that one let's zoom out and uh see the whole before and after so this is what we did and what we are going to do now is to um copy oh just uh just turn the before and after on again it was um just uh the screen share stored for a second just in that important step there we go is it is it yeah it's probably now yep that's what it all right perfect yeah so we got this this look now and i'm gonna copy it by holding command shift c on the mac or using this button up here and we're gonna just take it to the next image and this is the beauty of it so since it's the same setting i only need to take out those adjustment layers because then the masks would be somewhere else but in this case i didn't have to deal with it so we have to just check if if all the details are fine and can put them next to each other and see if they match and they do um one could argue about light now but in this case i guess it's the same kind of image and we can move to the next one also maybe this one and paste the look here and works the same way just take down those touch and burn layers and once we move to the next image now i can show you that we have got oops the the later time of the day and um this is especially interesting because is it has a really beautiful sky and we want to enhance that a little more so we are going to paste that look here now take take out those um adjustments and um we're gonna start in the same order like we did with the first one um go to the white balance and shift it uh a little more to the warm like but maybe here because the day got later and uh we wanted to warm up the temperature a bit to to match that in this case i think we don't need as much exposure so we can take that down to have a little more contrast over here and i want to keep contrast and saturation for now like like so and uh high dynamic range is is uh important i think it's the face is a little too bright we can dim it down a bit with the highlight slider and work later with dodge and burn to to bring it back if it's too much and the only thing i need to adjust now is the color editor so the curves stay the same they they are the the base for this look and if we go to the color editor um i think we only need to adjust the green a bit since uh let's see i think i wanna take the put here if you if you take a look here the the trees are pretty prominent and i want to tone them them down a bit and uh cyan let's see i think this is the sky part now and it's it's subtle but i want to move uh the colors back to the more blue area and i wanna take down the saturation a bit and i wanna lighten it slightly to bring it back here and uh of course we need to take the blue into consideration too and the hue will get a little more red so that we go back from from the cyan to give it a more bluish tint and give it more saturation and bring it a little up from lightness and now we have balanced out this if you take a look at before and after it matches this retro color scheme and the warmth in the tree and the blue in the sky is nicely complementing each other and um so again sharpening and noise is going to be toned down and we can actually use the same layers that we created here and clear the mask by holding control it's a good handy shortcut because at least it's all set up with the same parameters of the others it's just a case of then masking where now you need it exactly and now we can brush in some some mask here if we push the m button you can see it's very soft since i'm building it up with the low flow low opacity and i wanna you know bring bring back some detail of her face and also on her arm and uh i do want to lighten up this dark part a bit it's quite a strong shadow over here and just to be sure that we have enough information when when printing it it's always good to lighten it up a bit so that we got some detail there and this is basically this shot and um let's see what else what do we got um i have a question a couple of questions for you actually sure always um let me just find it because there was a couple of people who asked a similar thing um okay so we saw that uh maybe not in this shot but but in the first shot of this one fishing fishing shot with the net that you took the contrast down by -20 but then added some contrast back in with the curves so what's what's the benefit of taking the contrast down first and then kind of putting it back yeah with the different colors sure well it was a mixture of working with the contrast and also working with the clarity and structure and the first thing that i like to do is to take out um but it depends on the image right yeah but in this case um it had some due to the lighting situation uh it had some uh strong contrast already and we wanted to especially balance out the the contrast between or the tonal transitions between shadows mid-tones and highlights and that's one way to do it there's certainly other ways but for me and also for pair it worked out this way the best so that we can take down the contrast first work with the clarity and work with the structure slider to to bring it even more down and to have this really smooth um shadows mid-tones and highlights and then channel bass we can bring back the the the contrast as it suits the image sure the color is what are in the images and that's the reason why and i am what's worth pointing out of course it's all non-destructive so it's not like there's any damage to the image by starting off with the low contrast low clarity and structure which i guess gives you a good blank canvas start and then dialing back in the contrast where it's needed yes and all those tools that we got here in capture one they are complementary to each other they don't like exclude each other so you can work with them to to balance out the image the way you you feel it's right for you and i also uh used the luma curve which was helping me to leave the colors as is and also boost up the the the strong darks and the strong shadows in this image and since we wanted this contrasty look uh and this retro colors this was the way to go good question from nina actually um would you always suggest applying the color grade directly in the raw file taking the risk it's not what the client or team had no mind no absolutely not i'm glad you point that out yeah because it always depends on who you're working with yes and color grading is a major uh major step in every image retouching and setting so usually when working commercially i always make a very neutral conversion so it mostly is no great at all and that is because being the most flexible when retouching the image and in this case since we knew there wasn't much to do color-wise later because we agreed on the look and confirmed it with the magazine before right we were certain that it's going to stay like that or it's at least stay close to that yeah and um so we graded the whole set through and sent some jpegs to the magazine and we committed to it and that's when we do that because otherwise you can get into trouble if uh someone uh that is on the other end decides that nah i think we are going with a different look and if you retouched everything yeah uh after um developing the image with a look you might have to do it all again and i guess you're probably doing this only once yeah yeah exactly and and you know i'm glad nina asked that because uh absolutely it's perfect question it also came up again when zoe has done some color grading webinars with us and she's doing it in capture one then there is you know some fear and horror from the audience that what if the client changes their mind but as she said and this happens it happens yeah it happens but if at least if more often than you're thinking yeah at least if it's uh and she said gave exactly the same answer as you uh if it's a client i know and trust and and i have free hand to deliver the color grade then i'll do it in capture one if i know that the client is going to be yeah you know let's try a different look then no then it's then for her own peace of mind and your own peace of mind you wouldn't do it or lock it down at least in uh in canada so no you you shouldn't it can get you in trouble and um so but uh it's it's um it always depends on the relationship that you have you know when you can bounce ideas in the process which is always good to have people that you know you can share your thoughts with and you have this base of trust uh you know that it's not gonna change in the last minute and that's when you can do it and it has a plus of course if you work with colors in in capture one because you don't have to commit to this reduced color ranges once it's converted yeah exactly good question from paulina which uh also a couple of people asked um how do you determine where to put the points on the luma curve and the curve in general i guess okay um well um this are um let's let's go back to the curves this is another reason for a curve deep dive um tutorial yes well working uh with the channels or in this case with the curves um i think most of the things that you do although the uh the sliders might be different are working with the channels and so with curves and it's it's important to understand how curves work so um if you work with the red channel and if you take out red like in this direction you introduce green and if if you put it up you uh enhance the red and that is also with the green and uh with with the blue channel and uh once you know um that if you work with the rgb curve you work with all the channels at the same time so you introduce the the um the contrast in in all channels in the same amounts but if you want to balance it so say that you want to uh work on the green more than on the bluish areas then you can be more precise adding contrast in the for example in the green shadows you can if you are here and you you work on that and you take it down even more you have more green shadow but you don't introduce all the other colors to to this certain area and this gives you more flexibility to do so but it's not necessary but it's one step to have more control as we talked about earlier absolutely absolutely um we're nearly out of time actually so um i'll i'll pick a a couple of other questions um i'll quickly paste paste the look to one more image yeah go for it while i just pick it up because it's a question there's something that we can still show we didn't cover one thing but you can pick the questions already go for it dennis was asking good idea adjustments for highlights and shadows etc in capture one and then have a layer in photoshop for color grading is that a good way to go well you could but then you still need to do if you need retouching if if you put it on top you could possibly use the the color color mode in the layer settings to just transport the colors on it but you need to be careful when you when you do that because if you do retouch on top or below it can introduce some some issues and if you're aware of that you can deal with it um but yeah that's one way you possibly could do it but you always have to keep in mind what parts of retouching are still to be done and if it's a lot i wouldn't probably do it so what did you want to show uh well here uh in this case let us just quickly uh put more warmth into this one because that was one major step in in the last shot of the day i really love this outfit and uh the pose and everything in this it's in the louis vuitton bag which uh you always take camping yeah yeah that's how you go to rock festivals these days yeah so what i want to do is put put a little more exposure in it quickly leave everything else as is work with [Music] the green channel and the green is very prominent in this image yes and uh this is why first uh i want to take down the saturation even more since the bushes in the back are a little annoying so i meant the lightness sorry um and the saturation is going to stay like this and um this also stays like that so but the thing is i want this these green sleeves uh to be slightly altered and one thing that you brought up uh you being capture one um is this lovely magic brush and you covered it in uh you made a video about it yeah we did yep and just to show people that maybe haven't seen it yet it's it's fabulous you can use this the settings and the tolerance and refine edge once you go but the thing is if you just brush here oops what happened now i don't know right click maybe there we go and turn the mask on there we go oh i can't change the size with the same shortcut right no that's something we need to fix so i can i can bring in the green here very easily by just brushing over it and i can reduce the torments maybe a little more so that i can hit that edge like so and so and i love this easy uh selecting part but now i'm gonna go to the eraser and take out the pants i didn't need those and once we have this now we can push m again to hide the mask and work on that green pull and i wanted it to be a little lighter and also take down the the the saturation of it yeah it's such a fast way to mask because imagine trying to do that by hand would just be painful yes yes yes and this makes it so much easier and it's it's a great way to to work on that you know see it's a little lighter now it's not that dark anymore it matches better into the scene but it's of course it's personal choice but this this tool i just wanted to highlight it uh because i'm a big fan and it's so uh it's so handy to to work with it especially with fabric or with clear colors that you need to adjust quickly and you don't have to paint that mask and it's it's really cool definitely fantastic well unfortunately we are almost out of time i've just got a few other comments to to throw in i'm just going to put up your um uh social media links so people can confine that but if they if they search for your name i'm sure it's pretty easy to find you on youtube instagram so on and so forth um the question that i wanted to ask you let me just find that oh yeah a couple of people are asking is the bts video on your youtube channel because they really enjoyed that and wouldn't mind watching it again no not yet but i will put it there there we go and uh good it's uh it was the premiere so to say now and we'll put it there a little later i can put it there maybe today yeah let's see how fast it's uploaded and yes and any other questions yeah a few questions i'll just i'll bring up one which was on a similar thing uh any recommendations for additional resources content for color research color theory learning how to see and so on how did how did you pick up on those things well um it might sound a little weird but i think a very good way to develop an eye is to avoid looking at crappy pictures yes [Laughter] that being said is don't take too much time on news feeds on facebook and instagram and all sort of things unless you really uh like sort out what you're consuming because it's easy to you know watch these kind of snapshots and filtered images and everything and it's nothing against that it's just if you really want to train your eye you need to go to museums you have to watch or browse some some photography books and because those have been uh created to you know to watch colors to to dive into the mood and the story that photographer wants to wanted to share and take a look at good magazines and fashion magazines beauty magazines and all sorts of things that help you develop an eye and then you know work on it yeah and it's it takes time you got to put the hours in and good good skill that you movie production i find as well is also a good inspiration for us especially for color grading definitely um because i think that the colorists have been at it you know for a long time and uh and have lots of experience on creating the mood for the scene and so on and i think we can learn a lot from colorists in movie production that's for sure and also talk to people you know once you if you find someone that created something you like approach them and ask them because i guess most of the creatives at least that i know are happy to share uh their thoughts and ideas and sources and but uh the thing is you can gather information but you have to apply it yeah you need to well funny you should say that because v kelly was asking uh really enjoy the ambassador webinars thank you wondering if yan has ever considered making any editorial styles for capture one maybe a few of what he considers a more popular looks today so there we go you could do that right challenge challenge uh challenge exactly good there we go why not um and to finish um this is probably for me as well what tool would i use to put jan's hair onto my head [Laughter] sorry i think there's some hair jealousy uh going on for sure so so if we if we can devise a tool for that that would be great because i'd yeah i'd jump straight on that yeah absolutely excellent yeah and you know guys if you if you are interested in certain topics please just let me know and i'm always grateful if i can give some advice or help so it's always and since i'm starting out with the you know it's it's always good if someone comes there and shares the love and yeah let's let's connect and i'm happy to uh to put out more content yeah so we know tutorial on curves make some styles and uh yeah i need to need to write a list now yeah excellent all right well thanks for for joining us today and it's been a pleasure and to see a brief insight into an editorial workflow in capture one so hope everyone catches up with you on your various channels as well and in terms of our channel don't forget to subscribe to our youtube channel as well capture one uh if you're watching on youtube uh purely because if you do that then you'll always be notified of any new content that comes up so you should do that for capture one and you should do that for for yan as well and at least that way you always know when something new is around so thanks again jan and uh we'll let you get on with the rest of your day thank you thank you david thank you everyone and especially for your questions and for taking the time yep sorry if we could get to your particular question there is a lot of you so it was a case of picking and choose but um sorry to ignore those of you who didn't ask ask questions but we we did our best so thanks again thanks again thanks bye take care bye you

Channel: Capture One Pro

Views: 8,457

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: zODrWjwDgm0

Length: 70min 58sec (4258 seconds)

Published: Thu Aug 26 2021