Capture One 22 Livestream: Capture One 22. Live from London

good afternoon everybody or good morning wherever you are thanks for joining me and paul again it looks really sunny but that's the the lifestyle honest i hope you're all hearing us and seeing us well last time if you remember when we were on location we got rained off this time fortunately you can see some clouds but it's not windy and it's dry so as long as it stays that way for the next 45 minutes to an hour we shall be fine so fingers crossed so today we are going to talk about panorama stitching not hdr in this context no because as you can tell night time there's not a great deal of real potential for hdr but where we are which we talk about in a second we are set up very nicely for a panorama so first of all we're going to show you exactly where we are so uh we are kind of just just above and to the left we're going to zoom in a bit in a second but we're standing on top of the tate modern which is an art gallery in london just next to the river thames uh as you can see we'll give you a a little look on the roving cam in a second now if we go in a bit closer so just where you see that lettering uh on top of that paler area so it's literally just out of shot here that's where we stood and basically we're looking at this which we'll show you uh in a second so if you get the roving camera up on the roaming cam so there we go so that gives you a better idea of of what we're looking at uh paul you're shooting on the if you let us know which camera you're using sorry that camera that camera camera is this camera not that camera that that's the iphone no but then this one is the phase one xt so it's a full-frame medium format um camera system with it's got rodent stock lens so we've got a variety of different lenses but some rodent stock lens on the front the xt body in the middle and then an iq4 digital back which is a 151 megapixel digital back and from a panoramic perspective i also have one other trick which is wherever i set up i can switch from landscape very interesting portrait mode without changing the position of their lens all right um okay so the first thing that we're going to talk about is setup i would say so let's just bring brio cam back here okay briocam and uh well we can also mix in a bit of the views a little bit both if you wish in fact you can have camera okay i'll go right camera i'll be roving camera so um a couple of couple of quick bits with panoramic so capture 122 introduced um brand new um panoramic stitching as well as hdr merging um so two brackets two brand new tools um lots of people have been having great fun playing with them you do not need any equipment to make a panoramic file out of capture 122. you can stitch handheld shots in fact you can stitch iphone shots handheld if you wish to pull them all together and those shots will blend in a way that looks convincing realistic and as a massive or small depending on how many shots you take panorama from a handheld device however you will likely see little blips where things are blended from time to time you might also get something called parallax which we'll talk about in a minute so generally speaking if you're going to do a panoramic you ideally want to be on a tripod with a let's call it big camera rather than little camera um and you want to control the viewpoint that you're capturing and and that's something with something called a nodal rail um people will refer to it as the uh crikey forgotten the blue one word uh the i uh pupil entrance pupil point entrance point uh entrance people that's yeah entrance people um there we go so basically mind blank sorry um so when we look at a camera and we look at how a camera is mounted to a tripod so if you pop over here typically your baseline of the camera where the base plate goes is just in front of or maybe on the sensor plane so you're typically going to have a point of rotation that goes around here the problem is that in the same way as a human does so when when a human is looking at something we turn our head around here and what you'll find is as you look around something it moves so you'll get the background and the foreground moving independently of each other and the risk with that is when capture one goes to blend those images it's got two different views on image one the stick was to the left of the background on image two the stick was to the right of the background so what do i do with it so we have to shift the camera's viewpoint or entrance pupil um using what is referred to as a nodal rail one of these things back and what we're looking for is to be able to make sure that that parallax effect as we turn the camera stops so the parallax effect the idea is that instead of as i move the camera we're moving around the object we're turning so wherever i look these two objects don't change their position right so that's number one number two and probably more importantly is your choice of head so you will find lots and lots of complicated panorama heads around those panoramic heads will have one big feature which a lot of heads don't and if we look at this one this is a jit so heads a very very good head okay and it has a wonderful little spirit level on the top the problem with that spirit level is this is connected to the ball head so i don't know i know whether the top of my base plate is level based on this but i don't know whether the point that it's rotating is because i don't have a spirit level on the base of the head or on the top of the legs so what you want if we move over here and move over is a tripod which gives you absolutely a spirit level on the top okay but also more importantly a spirit level on the bottom so this is connected to the leg plane and we can use this to make sure that as we're rotating the head the rotation is always level and it's uh i guess it's a telltale when it's not level because your panorama ends up being i'm just tilting the camera more like that doesn't it i'm seeing more and more panoramas now where what you'll find is the crop you'll start to see black edges creeping in onto one corner or the other and that's where the effectively the legs or the rotation point of your panorama has been to one side or the other yeah so you want a head with at least or a set of legs with a spirit level on the legs or on the baseline of the head then a top one absolutely to keep your camera complete level then we'll talk about nodal points so i'm going to switch to a live view on here okay that we can see what we're talking about with that nodal point one second let's bring up capture one do we need the roving cam as well nope no yeah i'm just gonna put that down okay all right so let's just uh let's just get some turn some light on uh change to half a second there we go and what we're going to do what we're going to do is we're going to use a an area of the camera where or an area of the picture where we've got a near and a far object okay so if we use for example this area here between this lamppost and these windows then we've got something we can line near and far so we can check for parallax okay now one way of doing this in live view particularly is to turn on your grid which is very handy and oh just to be clear so you're running live view from the camera at the moment so we're seeing the camera you're seeing exactly what that phase one camera is seeing not the not the roving cam right so um let's just turn this camera so our happy little lamp post is on the right hand side grid line hang on i'm just going to hide us otherwise we're covering it up there we go and just going to be very careful here okay so what i'm looking at if you follow my mouse is our lamp post here just to the right of the grid okay and our window i'm counting one two three and right on the right of the fourth window okay now as i turn the camera to the other side so i'm looking at that same grid so i'm just going to put the lamp post just to the right of it again right just like that and i'm counting one two three just on the edge of that fourth window now the reason that you're not seeing a huge difference in this lens is a really long lens yeah and that lamppost is really near to us yeah if we're using a wide lens or you're using something with a really really near and real sorry lamppost is a little bit further away if the lamp is really near to us or you've got objects that are near to us and you're trying to get stuff in the distance you're going to see a big change as you shift from one side to the other of the position of that post and the position of the fire object so you're looking for one object another object and then as you do that you're going to slide that rail back on our camera so let's just have a switch to our roving cam so we're effectively moving that rail here backwards and forwards to the point where that entrance people point on the lens means that those objects don't move in relation to each other and once you've found that point what that means is as the camera moves around from left to right it's looking from one fixed point rather than looking around those different areas got it good question actually while i interrupt you there from azar why do we need all that stuff well the thing is you don't need all that stuff so quality in gets quality exactly so in theory you can shoot and actually just just give some sort of context the further away your panorama is the less of an issue this is yes the challenge is that a lot of people want to shoot huge panos with a foreground interest yeah and that foreground is what's going to slip up and the problem is when things get stitched you're going to you're going to notice if you look really carefully these tiny little errors or deviations or duplications of an object so that lamp post for example you might see um one one here and then another one here or half of it missing or something like that and it's where capture one or whatever is trying to stitch it together is seeing at the boundary or the join two different versions of that reality and it says well what do i do there's the lamp post on the left room on the right so it you don't need all that equipment in fact in actual fact the reason that we're talking about ball heads and stuff like that you can buy a full-on pano head which will give you multi-row capability and whatever yeah you don't actually need it if you have a ball head with a spirit level you can pick these up for between 15 25 at a minimum up to 600 700 if you want to yeah but you can pick up rails really cheap and this will make a big difference for that power sorry this if we just this is an expensive piece of kit either is it no so no it doesn't have to be i'm sure it can be you can buy very expensive ones but on the basis that it's going to get chucked into a kit bag yeah um i wouldn't worry too much no so with that lot set up so we've got effectively our legs completely level we know they're level because we've got a spirit level on on the base of the the head that means that our rotation point so our separate point here we're not going to change the ball head the ball head is locked we're just rotating around that point over the legs is now level we've got the nodal point of the camera set in this case it's not too much of an issue because of the distance but we're making sure that we don't have that parallax effect and then we start shooting at sunset from the darkest area to the lightest area oh yeah and why is that because that's something you yeah said to me the other day that you always start from so our darkest will be that way that way because the sun's over there to that one and then we follow it across the reason being there is a time difference right between shot one yeah and shot five now it's more apparent when you're doing long exposures so if you imagine a long exposure of let's say two minutes and i'm doing five different frames during the period between the first frame and the last frame that's ten minutes of difference true now if sunset's happening and i start where the sun is my second shot is going to be more dark as i start to move away from the sun right my third shot darker again darker again and that difference between each of those different frames is going to deliver that bubbling effect right when it goes to stitch so the trick is to effectively follow that light so if we start at the darkest point where the sun's setting and we follow it you're going to get a more even spread of frames all the way across got it should we switch to um in fact we can do a here's one i did earlier so actually there's another point here okay why are we doing pano stitching in the first place because yes of course from here this is a 70 millimeter lens which on this camera is a 0.6 ratio so what's the maths on that whatever 40 something yeah about that yeah um equivalent on 35 mil i can switch to a 16 millimeter equivalent and get the whole view viewing right but in that whole view i can't see this little christmas tree no just in front of some pools all the way over there and that christmas tree in front of some pools on a single frame pretty cool but on a pano shot is in here somewhere let's just have a little look go in there there we go let's get up to 100 good so what we're talking about is a shot that has huge amounts of detail huge amounts of interest all the different stories going on in the city in one great big frame yeah so i can't get that on an ultra wide lens because i start to hit resolution limits yeah whereas in here i mean this stitch together is something like four or five hundred megapixels um we can get a huge amount of detail in the distance while keeping that big wide view yeah and it means if you don't have a super resolution camera you can make one a super resolution camera yeah yeah absolutely so um with that in mind let's switch across to a live view oh quick question from uh keith do you need to establish the nodal point for each lens and a millimeter of the image being created um yes unfortunately yeah i've seen there's been a few questions actually this week since launch about is there a lookup chart or is there a quick way of doing all this stuff yeah the fact is it depends so it depends on um that lens on which camera body in which situation yeah as well um what nodal rail you're using because some of them have the measurements in different places some start from the middle and go out what you're going to do ideally is build up a reference of your own lenses on your own camera because once you've set it you know what it is for that lens on your camera yeah so unfortunately yes you do have to do it for each lens once you've done it it doesn't change no so you can then stick with it and what i see a lot of people doing little tape markers on the edge yeah so this is it's a pity the manufacturers don't put them on the lens in the first place that'll be kind of useful yeah okay so we're back into capture one so let's switch across to a live view so it's getting darker it's getting darker um just to cover one other thing as well before we start clicking the reason for going portrait mode rather than landscape yes so if i shoot a panoramic image in landscape mode there is nothing wrong with doing that at all no it's a it's a good way of getting a very very very long image yeah but you will lose aspects of the sky and of the foreground so if you want a more let's call it pleasing aspect ratio you want a bit more headroom a bit more foot room and if you're stitching anyway you might as well exactly why why not do a few more as much of it as possible yeah so typically for something like a city scene we're going to shoot it in portrait mode and stitch those portrait frames together it means that we can also use a slightly longer lens because of that headroom issue as well so with our tripod lock down we're going to just start from let's go for over there um now a few things number one we're going to set our aperture our exposure the whole exposure triangle aperture shutter iso is fixed okay we're also going to set our focus as fixed okay do not make the mistake of allowing your camera to make decisions because the decision it makes looking that way will be different to the decision it makes looking that way so you won't change the focus from here to there no so we're going to focus in on in fact let's just go over to here let's just make sure that we've got some detail yeah we do okay nice and sharp we're out at infinity in reality right here um but yeah you're going to set your focus manually you're going to dial in numbers that make sense for that exposure so however long you want at whatever iso in this case i can actually switch to let's go to iso 50 let's go to let's go for a maybe a second okay so we're not using filters intentionally we're just doing it right out of the camera yep set your white balance manually as well of course in capture one you can change your white balance later but yeah it's just easier to have the original capture all of the same way you don't want the auto white balance going all over the place correct so if we start with here and then as it goes to a warmer color you don't want that because you have to play with it later on and try and fix the thing so we're going to choose in this case our daylight oh white balance yep it's a pretty grey sky at the moment a bit of pink around but that's sort of it okay and we're going to click so click number one okay now a few things to think about in this scene we can see there's a boat right now in the next scene there might not be another boat so in fact what i need to do at the moment is outrun that boat okay so we're gonna switch and we're gonna make sure we've got at least 20 overlap yep preferably up to 40 don't be tempted to put too much overlap in if you do you could end up with capture one effectively overworking that image yeah and we've seen a couple of cases where overlap has been like 80 or something like that which is just just way too much and it's not necessary take longer to stitch probably not give a good result so as you're speeding in front of this boat i'm trying trying we'll do it without the boat in a minute yeah however um so to all intended purposes what we've done is a very quick five-click shot so we have this shot let's just hide uh us for a second this shot this shop this shop and this shop yep so normal looking sort of city shots um with these shots the first thing we're going to do with anything like this i've got a little tool tip um is make sure that we've got our light fall off set to 100. yes so what light fall off does is it controls that natural vignetting around a lot of lenses and capture one with the profiled lenses is able to fix for that and flatten the light level if you don't set the light fall off you're going to end up with again that bubbling effect yeah yeah it gets darker the lighter the dark and it becomes obvious where the stitch is exactly so make sure that's in make sure your diffraction correction's in especially if you're using quite a small aperture um at chromatic aberration ideally yeah fix that copy those settings and apply it to all of the images in that stack yep so we've got five so we've got five yep we're going to right click and go to stitch the panorama yep when we do we're going to get a little uh window up so remember these are 551 megapixel images we're on apple's brand new macbook pro so it doesn't worry too much about it it's pretty quick pretty quick um but obviously this is about throwing power at a machine so yeah as you get into bigger and bigger images you're going to need a slightly beefier and beefier machine i'm just going to go uh go rovi go roving just apple so you saw all the mess on the floor so this is the 14-inch isn't it yeah yeah so which is uh been running super nicely yeah in your opinion yeah as well well effectively we can see on the screen so yeah you know 100 this is producing a 473 megapixel image yeah of course we can change that so in capture one we can choose a 75 a 50 or a 25 reduction there are maximums in capture one so the most you can do is 715 megapixels at the moment that's a dng limit yep 65 000 pixels on any edge which i assume would be pretty uh valid for most people i would think so we'll leave this at 100 and hit stitch and you're going to get a little box come up if the box doesn't come up it's probably because you've hidden your activity activity window i think you mentioned in last week's webinar leaving notifications on because yes the point being i can get rid of this and carry on working yeah and do so i don't have to wait for no pano stitch to to finish no i can get on with stuff and then capture one will notify me and say yeah we finished the panoramic stuff yeah to background task if you've turned notifications on so if not this little wheel up here will give you a little indication that stuff's going on and at the bottom you will find a dng file which has done a pretty good job including the boats that i included so there we go um now as you can see at the top and bottom of that image you're going to get a little bit of well need to crop let's call it that way but a little bit of the the rough stuff around and that's just because of the shape of the lens yeah so the lens isn't perfectly square as we move around we get these little dips in between that roundedness of the lens so we're going to go into here and with a bit of a crop just neaten that up and the reason why i i can't remember where the question came up i think it was on online today why don't we just crop those little bubbles out a couple of reasons you could you could actually heal and clone within capture one um you can actually heal into those areas uh you might want to warp and twist it in a pixel editor as well so up here on the top i have a choice obviously yeah i can completely crop that out just like i did or i can go into our in fact let's not heal it let's do a clone just to make sure it's nice and clean um and i instead of cropping out of that sky we can just add a bit more of it yeah and if we don't like because what i suspect is going to be it's going to be a bit obvious where the clone is but if we don't like that clone it's also a bit tricky on the trackpad yeah um if we don't like it for some reason it hasn't tried your mask don't probably do it oh there you go there we go um if we don't like it we can obviously heal into those edges just to start blending in and yeah i'm going to spend a lot more time in reality than what we are here but one of the reasons for not getting rid of the clone or sorry the uh the crop content is to allow you the choice of what you want to do with those areas you might not want to shrink the image yeah because there's quite a few mega pixels you could lose out you would as well um sorry just in just an interrupting minute a couple of people asking um i'll just answer this technical one from nicholas does the stitching pro process make use of the gpu yes it does yeah quite extensively any more tips about hand-holding pano well be a tripod i guess be a tripod as much as there is an advantage to being my size yeah which is and actually the mistake that i think a lot of people make is they go very very stiff trying to hand hold something but if you watch the actual movement they do this yeah which is the exact thing we've just talked about getting rid of with the rail so you want so it's not about doing that and moving the camera around your body it's about you moving around the camera so imagine there's a pole underneath the camera even if you don't have a tripod moving around that central point rather than doing that yes uh joe do you usually keep the exposure the same or adjust while following the light creating a pano keep it the same keep it the same if you try to adjust i i've tried it yeah you try and get a bit clever you try and get a bit ahead of it you can effectively almost like you would with the time lapse go for a sort of holy grail look where yeah each um each part is is equivalent light you'll never guess it right um and you will end up with those little border marks where things are joining because the light's changing yeah especially in a long exposure in short exposures it's less of an issue yeah but in a long exposure where there's a big gap between each frame you're not you're not going to get it you're not going to get it no um let's have a look we need to go and have a look at that christmas tree we do yeah is there a content aware filling capture one no but you've got healing and cloning which to some extent will do that job of filling in those pieces if you want to do more extensive healing and cloning then you would go to a pixel editor if you wanted to warp the edges then again that would be a job for a pixel editor barry says i'm now tempted to try tethering with my landscape photography yeah why not i mean you can see exactly what's going on well in fact let's uh so where we are there we go so let's just switch to the rest of there so we are literally on a rooftop away from everything um you know cameras out um david cheated look he got power got power yeah well you don't need it absolutely so especially on that new computer is that thing runs for like a day yeah um without plugging in the camera obviously will use power while tethered and we can see the cable across there um but you can operate like this completely remotely wherever you are yeah and there's no issue no um and you're gonna get as you can see when we start talking about making decisions on camera you're going to get a lot better decision made looking at a big screen than you are on the back of the camera yeah definitely okay um there was one other question i wanted to pick up let's just remove batteries that was um james i blame the iphone for people's misunderstanding of pano photos well the iphone does a great job i have to say interestingly though what the iphone does exceptionally well is it correct for the mistake that people people make there's a huge amount of software going on yeah yeah that's it because it knows as you're doing this it's not ideal ideally and again actually to get a better pano on your phone keep it in the middle yeah do this don't do that no exactly for the same reasons and there was a couple of other questions sorry i've lost them now which was again why shoot landscape because remember landscape you've already got a landscape um and you'll lose a bit of top and bottom headroom but by doing that and then you're stitching anyway so you might as well do a couple of extra frames and you get a taller picture otherwise you end up with that you know that very long very very letterbox yeah letterbox look which photographically i guess or compositionally you know it can work but there's a greater chance by going portrait and stitching together you'll get a good result are you firing off another one i am just to see what we get to it uh okay at night time um but and actually on that when it comes to the the overlap remember when you're in portrait mode that overlap is going to feel really severe yes because in landscape mode it's sort of just the edges yeah yeah whereas in portrait is almost half the frame it feels like you're you're duplicating so we're just again and again even though the sun is gone yeah there is still you can see there's more light over there than there is over there so we're just following that light across at sunrise think about it the opposite um so just follow that sun in the other way or follow away from the sun even though you wouldn't know it um if i just pan around so where's it lighter over there over there so lighter over here i think camera foam probably does a bit too good a job compensating for it but definitely to my eye it's it's pretty dingy just over the top of paul's head and then uh pulling in a bit more light over this side as well so what i'm going to do with the night time shot is just we'll go through the projections oh yeah the different projection methods yep yes we've got four projections to to choose from yeah so which ones in the uh in our tethering mode um i have the advantage of being able to pull in the last settings that i used yep so i and this is one thing to bear in mind if you're used to tethering don't forget that when you're in non-tethered mode and you're importing images check that distortion check the light fall off whatever because it may not have pulled in your last settings but in tethered mode it's going to remember what i did last time so each of these images have automatically now got our light fall off done and corrected good good so we've now got six six shots when went for one more stitch to panorama so the default that i chose on the first one is cylindrical the reason being we've got a single row of images we're happy for a slight effectively a bulge in the middle and the reason for it is if you think about the inside of a ball as the camera is turning the stuff that's here starts getting bigger than the stuff that's further away in the middle so cylindrical corrects for that and you end up with this sort of evening out i guess of the horizon spherical is it's doing exactly the same thing but it's designed for a multi-row panoramic so if we do this exact same thing but we do one row on the very top one row across the middle and if you wanted to do that would you just tilt the camera up yeah so you can get again you can get a proper pano head effectively it's it's two nodal rails right so one for your lateral movement one for your vertical movement um and you've got on there a your base plate effectively has an angle on there so we can go up 30 degrees shoot a row down to zero shoot a row down minus 30 degrees shoot a row capture one will take all of those and it will stitch them together again as if it's on the inside of a ball yeah but you can end up with some slight curvature around the edges for architectural stuff there can be some challenges especially with things nearer to you so just be careful with cylindrical with um spherical cylindrical will be a bit cleaner perspective now in this shot here it's it's not going to work no no saying too large yeah that's because it's creating a gigapixel sorry there we go there we go so what perspective gives you as a projection if you're on a tilt shift camera perspective will give you a lovely clean shot because on a shifting camera you're actually moving the film basis what about a shifting lens same thing same yeah so you'll get a much cleaner shot you won't end up with these quite heavy bows right what it will do on a camera that's not shifting and we're using this in non-shift mode today is it will give you a wide angle view as if you'd use that equivalent lens right so you'll end up with a lot more heavy stretching on the sides but all of your lines are straight are vertical horizontal nice and neat um but it's effectively imagine looking at that view as if you've taken it with one single lens so you get the full pull in the edges right as if as if it was an ultra wide angle lens and then panini i kind of like panini just for the name yeah yeah um so what panini is doing especially for architecture and things with vanishing points yeah is it will make sure that those vanishing points don't wobble there's no curvature on them or whatever they're true but it doesn't have the same warping the perspective does right so if you're on a tilt shift lens try perspective first okay if you're on a non-tilt shift lens and you want that sort of true-to-life view then panini's the winner the downside with panini is it takes a lot more processing yeah as you can see yeah yeah spherical and uh cylindrical pretty pretty quick um but panini it needs a lot more thinking time effectively to get it right so those are the four methods we'll wait for the the panini to come up sorry i'm gonna make that that's all right no no what i can say while we're waiting is that you wrote a blog post about this which is on our site and uh diego who's on the chat if you can find that link and put it up there that would be great because then that summarizes uh what we've just spoken about there it is that was that perfect there we go good timing good feeling um so what you'll see in panini as compared to perspective you see that difference in warping effectively so it's kept the middle more true but it's keeping everything straight level vanishing points going in the right place whereas if we look at something like cylindrical you can see that sort of bulge happening in fact it's quite obvious when you go between them yeah panini is a lot more natural compared to cylindrical when especially when you're doing skylines and stuff like that yeah spherical if we were doing multi-row fine but but no so yeah there's i guess there's no point picking spherical if you're not doing multi-row i mean it it can produce a decent result but the cylindrical will do the the same thing for what most people need on a single row i missed it what what projection did you go for panini okay just to make it have to do some more work just some more to work here so one thing i will say because dave is not allowed to okay the timer on here is a little out sometimes slightly out here so where it says 10 seconds left don't think your computer is frozen because no i've seen people going oh my god you know capture one's stopped working no it hasn't it just needs a bit more time to think and this is one of the key things is you don't have to wait for it no so close that window that's fine carry on going actually start to look at your other images maybe you want to make something stuff like that i can go to our previous image and you know let's uh have a look around london we can have a look around london um but you know from our background we can push a touch of clarity in there we can have a look over here let's pull down our white balance a bit cooler a bit more night timey it's going to look a bit nicer but well that's happening while this stitching is going on in the background don't have to worry about waiting for it your computer hasn't frozen no it's just working really hard in the background and in this case it's creating a whatever 700 megapixel shot out of those oh i see diego's posted um the article you wrote about um using the new m1 max but there's also another blog post sorry diego i wasn't clear on our um but that's also a good blog post so you should read that one as well but there's also one on our learning hub learn.capture1.com which talks about the different projections how to shoot for each one and so on and so on i was going to say another thing to bear in mind of course because these are dngs not only can i apply adjustments but i can also apply stars yep um to the output dng so if we've got a let's go deep forest we kind of like this one sometimes um you know we can choose a look for that scene yep over the top is completely raw as a file so we can edit our white balance but more importantly i can load on all the capture one styles all of the color balance tools all the editing tools everything yeah and prasad says while processing if i edit the source picture will it affect the stitch output i haven't tried no it won't i don't think so the stitch output is taking the raw data the raw data so anything you're doing to that file isn't actually altering no and any adjustments that run that file is a snapshot in time which won't affect the um the output the the truth is we don't know because it's a good question yeah um but logically would say i think you're okay yeah exactly okay while we're waiting that's a good um time to think about this other question cameron what about stitching together an astro well i'm glad you mentioned astro uh oh what happened there you crashed it so when i said don't worry capture one doesn't crash crashed um i'm not going to send that bug report to you right now no okay i'll let you um go back to fixing that and i'm going to answer the question about astro which is not related to pano stitching it's related to hdr so if you are shooting astro an um an additional if you like uh use of hdr is to remove or reduce the amount of noise in a shot so if you take 15 identical frames not moving the camera just 15 identical frames merge them using the hdr function you'll actually see quite a dramatic reduction in the amount of noise in the picture so that's something else you can try as well if you're shooting astro could you stitch astro together i don't know i'm not experienced enough in it um but so we've done it we've done it um we we did it funnily enough with uh the iceland shots oh yeah what i found is it will stitch right remarkably i didn't find any duplication of stars i didn't find any missing stars i'm pretty sure the very very clever people that are very into astro would be able to look at a map of the sky and say there might be some blending challenges in there okay but in general terms it did a really good job of matching up foreground two stars and in this case we had aurora going on in the background as well nice it merges it all together perfectly fine um what i would say is it depends i would imagine on how strict you want to be right to yeah so it's stitched okay this time stitch there we go just not the first time it just really didn't like it um but yeah again so you know we can now change this to feel a lot more nighty yeah we can fix our highlights so obviously we want to pull some of the detail in there so without our highlights changed it's just temporarily undo so we brought up shadows and highlights a lot more detail in those highlights but also pulled up all the shadow stuff that's been done after stitching yeah that was a question from andy actually do you edit images before or after the stitch i guess there's not much point doing it before really if you have for instance a lens dust spot or something like that right it won't possibly make sense to do it beforehand because all the stitch is going to do is just duplicate it right for every single frame that happens i've got one like that so potentially there are some benefits to doing some of that stuff before i found it a lot quicker stitch first and then make the changes right simon says uh paul if you're on a commercial shoot is there anything different you would do aperture settings or you'd be getting paid for a startup is there anything different um it so it it depends uh if we take this scene you know if we're shooting this as a cityscape as a huge wide view of london then f11 out here with that particular lens gives me everything in focus you know huge amounts of depth um if we were doing something that was a feature of you know let's say it was in particular this dock down right here yeah then maybe we'd use a slightly wider aperture just to focus on that as a subject and then have everything else knocked out of focus a little bit but in general those are pretty much the two decisions you'd make the other alternative of course is to shoot this long exposure yeah you get the cloud trails and stuff like that if you're going to do that and i'm just thinking because commercially there is a bit more pressure because if we get it wrong um we've got to arrange everything all over again yeah um so what you're going to look for is the direction of cloud movement so in the same way that you're looking for the sun direction in terms of lighting and following that what you don't want to do with if you think about a cloud moving so if i've got my cloud moving here and i click here and then go here but the clouds move this way yeah i'm not going to get that nice long whisper fighting against it so you you'll get almost like a morse code effect in the sky so ideally if you can if you can work it out you want to try and to some extent follow the direction of movement whether it be cloud or water but something like that so that you don't have to try and try and repeat and then repeat and fix it later i like this omg crashed hahaha yes well i'd rather it crash than it be raining be windy yeah we you know all those things that we experienced last time so i'll take a crash over any of that any day and uh internet's still holding up as well so although i've cursed it now probably um does capture one take advantage of the blazing fast m1 pro m1 max chip um yes yes it does definitely uh let me see so if i pull up our activity activity monitor let's just uh do a quick stitch to panorama so you can see those cores firing up you can see the this is your graphics or gpu in here so this is the m1 max with the 10 core plus neural engine stuff as well yep um so as i hit stitch absolutely you can see it start to fire up it's using all cores um it is using the gpu where it needs to yeah um arguably in this case the gpu is is probably not too taxed um it's using the cpu cores more than anything but yeah it's it's using what it can yeah excellent um james who i saw earlier said you can get a nodal rail from amazon for about 20 pounds if you're in the uk um 30 40 bucks in the us so they don't have to be expensive as a general sort of piece of advice if you're new to this stuff yep you're going to bash this thing around like nobody yes so you know i i am very much an advocate for get the best equipment you can 100 of the time but if you're new to this and and this is just a play because the other thing as well to bear in mind you'll see here they come in different lengths so some lenses will need a much further push back than others and you can't always use a really long one because if you're on a wide lens then the nodal rail starts to appear in your shot right so there are different lengths you might want a couple of different lengths to try with your lenses and then when you have actually worked out exactly what you need for your set of lenses if you want to go and upgrade those nodal rails then then fine yeah but at least you haven't wasted money on something that you may not have needed yep true true excellent all right well we've probably shown what we need to show tonight i would think yeah um i'm just looking at the last uh few questions um oh there was a question earlier it's not this question um but it reminded me given that you are full enough to make more than one stitch panos could you merge them to get super long prints for example you i still hit the same limit in dng that's true yeah but argue if you want to know if you want to stitch a series of panels yeah yeah um you could just bear in mind that uh so one thing just to keep in your heads there comes a point where the image becomes unreal yeah so when i start seeing panos that are you know beyond 180 degrees it can look great because it's something that your your eye can't normally see as a human yeah but it starts to feel very unreal and and things just feel a little bit out of perspective and stuff like that so be careful you know you're trying to capture a scene you're trying to invent um something you can have fun with this stuff you know there are tools that make tiny planets and and little rabbit holes and stuff 360s great stuff but if you're talking purely photographically and trying to capture a scene just keep it within limits of reality rather than going too far peter was asking it would be great to create hdrs from variants using a single exposure html this is the can you take one uh raw do a plus one minus one and then merge them into oh okay i guess but it's the same source so you're not really the problem you're not building any extra data yeah so in terms of shadow and highlight recovery you're not going to get more than what you could recover from the original midpoint still in terms of noise reduction the reason that noise reduction works in hdr is because noise is random yeah so between frame one frame two and frame three the noise is moved moving around if you've done that with one source image and just one brighter and darker the noise isn't the same place so you get no benefit of noise reduction you get no benefit of dynamic range there's just no point just a no point yeah the reason why the hdr works for reducing noise is exactly that because noise is random every single shot you know the signal quality on each pixel is going to vary so by taking 10 shots of the same thing and sandwiching it together capture one can find the good the best signal in each pixel and you get a much better result so it doesn't have to be astro it could be let's say i had you know my camera which is you know not great in the shadows i could shoot this shot 10 times and just merge them together with hdr with the goal to get better noise so um someone asked could you do a panoramic stitch from two different cameras i suppose you could i would if they were well not sure why you would well there is an argument to it um so i would if they were identical i don't know whether that fits with the different cameras um so your cleanest possible panoramic stitch will actually be by shifting the lens or or the sensor yeah if you can keep the the the plane level and this is what we talked about with the tilt shift camera or tilt shift lens so as i'm moving the lens around a sensor i get a completely flat plane i don't get any of this pulling or any of the spherical issue that comes from looking around so arguably if i had two identical cameras next to each other on the same plane looking at the same scene and stitched those two together i could get a very clean panoramic shot true true true um but they'd need to be identical cameras with identical lenses and so on if i've got two different cameras with two different lenses i think that's going to be a mess yeah try it claros going maybe you missed the start claros uh will it will the stitching compensate for any possible shifts in automatic white balance what we did here was to use a manual white balance because you know you might hit a street light or you might hit a christmas tree or something like that that's going to kick even even things if you're shooting at sunset and especially if there's clouds in the sky yeah that's going to be the threat about the temperature difference when the sun goes behind a cloud to when the sun's in front of the cloud well in front of the cloud that hurt but you know the second you get those variations and especially what you've got to bear in mind with panoramic stitching is the time taken between frame one and frame two is a lot longer than just one frame yeah and a lot more changes in the sky and in the light that's available now non-related question what's your streaming setup a wing and a prayer mostly but paul's uh paul's m1 max is hdmi'd into mine uh then obviously we're going out over 4g fingers crossed from a little uh hotspot you can't see over there roving cameras in roman camera is ndi which worked uh surprisingly well which is is good here is you guys however you are let's just switch to that so that's over there and there's 4g hotspot behind us so um yeah and there we go so it is possible to do it on location well i say that last time we tried it wasn't because we got very wet and it was very windy so it's always a risk but it's all good fun um let's have a look common uh pano aspect ratio that work well three to one i think there's a danger of going to yeah through skinny three to ones i mean let's if we just pull out of this shot here um three to one's probably nice um as a setup so one by three is capture one and see it um you'll see here it's quite skinny yeah i don't think i want to be skinny enough but it's it's pleasant yeah you know it there's nothing there's nothing horrible about that particular aspect ratio it's a nice aspect ratio once you go narrower um and then again we have the advantage of we shot in portrait so we can do this we've got a head room to do it with yeah if i didn't have that um just go to uh in fact let's just create another one let's go maybe five to one you know at this point here it's getting a bit stuff starts to get a bit tight yeah and you know you see them in the touristy um exactly the gift shops and stuff you know they do them of a cityscape like that it just doesn't feel very nice to look at you want a bit more space so i would be in that place personally good art says i've just stitched 25 architectural interiors nice work all shot with canon 24 ts having those choices in stitch is wonderful yeah good stuff good session says tony thank you tony um could i stitch macro shots yes yeah i don't see why not i mean it doesn't have to be a panorama we chose to do a panorama because it's cool um and it's you know a typical use but you could stitch a portrait you could stitch you know something much closer to you so yeah the only thing to be careful with macro shots is um the areas with bokeh and i'm not saying i'll get it wrong but just keep an eye on those blend points um because what you don't want is half a circle yeah yeah so just keep an eye on it if it does have that issue that's what the healing brush is for yeah so you can you can get away with it but just keep an eye on those where i went wrong doing something closer it was just a shot of a of a house was that i forgot to lock off the focus so of course when i moved from you know this point to this point or whatever then the focus shifted and it stitched beautifully together but the panel in the bottom left was out of focus compared to everything else so i think there's a couple of things there to to avoid as well all right before we uh get kicked out off the balcony hopefully not directly over the edge tell them we're here yeah yeah hopefully they don't lock us out here um on thursday if you're if this is your first time using capture one or you're new to capture one then on thursday there's a couple of webinars which will just help you get started so not covering new features in 21 in particular but just really how to get to grips with your first steps in capture one so diego if you're still there and your fingers haven't fallen off then you could also put up the link for that that's on learn.captureone.com as well and that's just to getting started in capture one if you're interested in more landscapes and astro and hdr we talked we've spoken about panoramic here with paul but to talk a bit more about hdr i've got rachel jones ross as a guest coming on the 21st of december she's based out in canada does a lot of astro long exposure work uh panoramic as well but also a fair bit of hdr so come along and listen to rachel as well okay so i think uh all we have to do let's just go back to briocam in our blinding lights they were a bit bright actually weren't they now that um oh there we go now now that the sun's gone down uh thanks for joining me thanks again paul for lending your expertise you can find paul at let's just uh bring up paul's creds against paul reefer.com yep and then i'm underscore davidgrover on instagram and that's it so thanks for joining us guys um i'm glad that it all went off without hitch today as opposed to last time and hopefully we'll see you on another session again soon if you join late uh it's on youtube as soon as we hit the stop button so you can always go back and find it there as well so take care everyone and see you soon cheers paul bye bye you

Channel: Capture One Pro

Views: 7,533

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: mtSjnLlGO_M

Length: 63min 15sec (3795 seconds)

Published: Tue Dec 14 2021