Capture One Color Grading Tutorial

what's up y'all so my number one requested videos are color grading videos whether it's photo photography I shoot a lot in the desert but I know a lot of people are lucky enough to be in the California desert with beautiful blue skies and beautiful color pellets so this is actually in my town I live in Yucaipa California I always say Redlands because people know Brennan's more but yeah we have mountains and rivers and stuff like this and then 30 minutes out is Palm Springs so yeah that's a I would do a color grading video something that's might be a little more relatable to other people in different areas but yeah so the number one important thing when color grading a photo it's knowing what mood and vibe you want to go for I already know for this photo I want to do complimentary colors off the blue water and her denim and match the trees to go with the basket and to make it look a little more autumn looking but I'm gonna do a different grade first so a lot of people would say oh it's the blurry photo it doesn't look good I shouldn't use that I love it I think it adds more character I love motion blur if you look at Allen von Unwerth from the 90s who shot a lot of like the vintage guess ads and whose other shot for other company a lot for out it was but she used a bunch of motion blur Peter Lindbergh as well and they're both of those are some of my idols start with this photo so first thing I always do go over into my lens distortion is turn all these so I think sharpness all that porn but I guess we'll just pump it up that just fix all all the the lens then getting and all that kind of stuff so I see there's some you see the highlights are kind of peaking so let's just save some of those let's go to curves I want to do classic chrome for me classic chrome gives the most filmic and cinematic look before like when I first started again the Fuji stuff I would always use the pro via and I got really cool look kind of I was getting like this cool 90s saturated film look but I've been messing with classic chrome more because I kind of want a more of a cinematic look rather than filmic look either or it works actually you know what let's let's do let's start with Pro via or should we try a steel let's see let's do asked you I haven't used in a while so let's try it and again I pick the film profile depending on what vibe I'm trying to go for that's very important because they have really unique different looks and attributes that kind of help your final look so again I'm going to do two different looks I'm gonna go for a really filmic look kind of natural and then the other one I'm better push a little more and do more of a more of a stylize my own kind of branding look one second with drinks of coffee I'm obsessed with coffee alright so first before I do anything after I do my lens Corrections and I just my exposure the exposure is pretty on on this I go and I tweak individual colors first so I go my color editor are going on my Vance start clicking through so I already I greens one of my most hated colors I hate green so I always have to go and mess with it for sure so let's dial this in I'm just trying to get all much Gray's I can without affecting any of the skin tones that's part of the board right there let's go a little bit more try and get the bright note we're going to the basket now back that off a little bit let's get some more this and there there we go you see most of the greens are in there now I'm to spoon this up cool so I want to add kind of a teal hue to the Leafs so they see y'all soon that gives even more a filmic look if you I don't know like it depends if you shot film a film kind of has this characteristic where it pushes different hues to certain colors so deep blues tend to be deep blue and then the mid blues and higher blues kind of have like a teal hue to it shadow sometimes have like a magenta look or a green look it really depends what kind of film the age of the film the way you shot it the way you process it there's a lot of things that go to it but it always has a very unique look so next let's go into the Blues see where did you get out of the purple hues to make sure we don't get into those greens all right now I kind of want to give this a kind of a till look to it too so you see there's you could do this whole like Fuji beeps I guess it's kind of like a superior or like a codec what's it called I'm blinking out all the names right now the one that everyone uses for codec portrait so we see that's kind of like that vibe and then you would go and added a little bit yellow hue through the skin but again just trying to go for a different kind of fun so you see when you push the blues to the tills also in the greens got a little more green and less teal so let's push that even more cool right a little more to see what has to be turned down with a bit kind of like that I gotta be real gentle with that though all right so we got that now let's go into our skin tones she's looking a little dead and you can see it pushed it in caught into the purple hues so let's go it was cold and she was a bit pale porcelain type skin in person let's go there you go really just push us around alright let's wear out the bump this up have to drag this and you see when you take this and you bump when you bump the hew up and you take this it's going to push it to wherever you're going over there let's turn the saturation back down you're a little bit of a tan so I'll lighten this back down saturation back down light is down a little bit more and you can see on the bottom right here this is where the hues being pushed so it's more of like a fine-tuned let's do that and if you want to go in advance and you go into the clip this - and click on the skin tone again if you're finding it hard to grab the lines over here you can also grab these lines right there now cool trick - if you want to expand that you just click this down here I don't expand the saturation on that but you'll see let's do drastic you see you could do it more hardcore tuning back in the advanced editor all right think I'm doing that so now after this let's create a new layer new fill layer and now let's start coloring so I basically I guess you could say I color corrected in it - what I want it to look like so after that now I would go and create a new layer and now I'm going to color grade it color correcting is just correcting the colors to the the right hues I guess you could say I kind of color grade it to me that's I just caught the corrected it so now I'm gonna go and stylize it let's let's see actually start the highlights I'm a big fan of warm highlights whether it's a cold look or a warm look I'm always doing this if I'm doing a warmer photo I usually put the highlights to a little more of a green look but when it's a colder one I do kind of more warm its go in the shadows let's see we're going to want to take this guess we could make a real cold so you like that the mid-tones you can either reverse that or you can make even more colder I think that's what I'm gonna do you'll see in a second what you can do for the skin tones so in the same color grading one or go back to our advanced click on these skin tones again we're going to expand this get more this in here there goes now it's got her skin what's warm our skin up back again so another aspect to film is no matter how strong the ambient colors are or whatever colors are in the photos the skin tones were always on point and that's just because the way that film worked and the way it picked up colors it always always always was correct for skin tones so when you see people saying you need to cut some white balance and all that yeah if you're doing photos of like clothes and it needs to be accurate color then yes use gray card and all that but when you're doing creative stuff like this it's not as important I rather push the color balance to look more saturated than accurate so yeah again whites in person aren't as white as you think they are they reflect on the ambient color so I don't I really don't get where this accurate color thing came from where I go and punch up the Reds and her lips a little bit if this is possible it's kind of hard cuz you saw her skin tone let's go way down her trail you see there there's her skin her lips right there let's take that bump that up a little I said that does cool yeah try that no it's a bacteria lips alright the brightness on those so you see I'm just dancing around with it but you see over again some artifacts around here so I'm guessing let's see it's turn this off that's this guy let's see it slower this yeah it's not doing much alright I'm just going to delete this so when it comes stuff like that when you're really pushing the color gray sometimes it's hard to just get the lips so one thing you could do is you go in create an empty mask and draw all over it I rather fix that in when I go and do retouching so I won't be doing retouching in this in this video this is just for color grading but yeah so let's see let's go back to color balance I think I'm doing that so after I'm done with that I go on to my curves and I start stylizing a little bit more one trick is always click up here and I do five point all channels so that creates five points and every channel that kind of just helps so the first thing I'm going to do drop the mids and the shadows a little bit you see that just added way more contrast bring the mids up a little bit more let's bring the shadows up or the blacks kind of crush it I like a filmic fade to it know we were in this backup so I kind of like that the background has a haze I don't want to crush that let's go over into our dynamic range bumper shows up hope I'm not going too far again this isn't like you should be learning some of the like the tools I'm using but the other important part is just envisioning a style and figuring out how to get it to that point I mean you copy people to learn and everything but what's really going to develop your skills and get you more work is developing your own unique style to where people have to come to you for that look where they can't go to anywhere else to get that looks you're the only person that knows how to do it that's how you get work let's see naturally so since my mid-tones are cooling it down a little bit I kind of want to reverse that in the shadows yeah that's cool on the highlights let's bring the highlights just down a little bit mid-tones up a little bit and sharpening I just put this up around like 350 film grain I would put I hack I like a lot of film grain I go overboard with this sometimes but I just love the way it looks so let's copy that you just click up here let's paste it to this photo see what it looks like pretty dope let's see he's always the fun part it's kind of like gambling I love how that looks kind of underexposed bump it up a little bit actually command Z that go to layers go down a background so exposure kind of brings up the highlights and everything Barney's kind of just brings up I think around like the mid-tones and it kind of keeps the highlights safe like that bump this up a little bit yeah you see right there so see on this file it's got a layer one again color editor it's on the Vance let's click on her lips you see her skin tones and her lips are a little more separated so we might be able to get a better lip selection oh yeah let's narrow this selection down even more smooth don't Irish tried this yeah I think that's just gonna have to be done and retouching yeah it's just delete that again let's see what looks like them this photo actually now this photo I love that one oh yeah definitely gotta bring the brightness on this exposure cool bring the saturation a little bit so impulse eye part go back in and take all this red over here or make it all one color kind of correct that or we could do that right here real quick let's see oh yeah so let's take some of those Reds out what was it there or is it that's that one right there it's coming out in the saturation cool so you see there's one look some people might like this me I'm not the biggest fan of it my strong suit is not cooler photos let's see--let's there's a lot of exposure down here so let's go and fix it real quick sorry this is just me being a perfectionist and just trying to give a quick example but let's see if we can make a little bit better it's gonna crush the shadows sorry really bad allergy something like forever sniffing sniffling we're gonna call it so there go it's kind of like that green tint to it all right so that's one vibe but what I would usually do is again let's go to the lens Corrections all right so I would go to and this is I did this shoot last year when I had the X t2 so they see this the X t2 here the dynamic range is a tiny bit better on the xg3 especially when you go into editing it kind of it's you can push it a little bit more say I just went over the classic chrome I am using the latest version of capture one it's capture one 12.2 so we have all the food you simulations now for this and then the highlights actually let's bring down the exposure they're gonna know against the skin tone doubt her it's got a right balance scans a little magenta so let's bring down green hues let's warm up Calvin a little bit actually not to keep this down so if you're going to be editing blues if you want to really affect them it's better to keep your your white balance down a little bit because you see if you do this and go try to select the blue so there's I could be as many Blues to select so it's kind of like a trade-off I'd rather have the final look from white balance because you see this is going to be kind of close to what I do so it's an option but again it won't really want those blues to be punchy so I kind of want to go low enough to where I could select a blue so let's go to color tools it's again I'm gonna start correcting the color so what I want them to be again you can argue that this isn't color correction it's more color grading but yeah who cares I don't let's get all these greens well let's push them yellow look at that look at that I already freakin love that alright so now let's go click our blues I'm actually ready to trick here we go over the skin tones and we're gonna use a skin tone tool for the blues I haven't really seen too many people talk about this but just because it's a skin tone tool does not mean that's all you have to use it for so I want to try get as many hues as I can into there so beer the greens being the Magento's and I'm gonna go click the lightness up so you see it kind of just brings so again when you're when you look at film all these kind of like cues and luminosity kind gets pushed together so let's pump up hue is is where the magic happens so now you see you're connecting all these colors within the photos that's giving it a totally unique look digital cameras tend to pick up colors like every single colors trying to get as much accurate color as you can but that's boring like when I look at a photo I don't want it to look like real life I want it to take me to a different world like a different mood a different vibe a different feeling I want it to move me real life doesn't move me this the whole point of being an artist you know so it's creation punch it up a lot Hughes a little bit so yeah this is again one of my biggest secrets you know it's like one of my biggest ways to watch we can go to the yellows and you can see like there's a lot you could do with that it's pretty rad but I want those those yellows to be yellow all right there's you got really fun to knit pump that lights up a little bit now let's bring it down well the saturation up let's go back to our van so now let's click on Blues again now the Blues are all balanced out your eyes being forced to look at the whole photo not just certain parts because there's literally two different colors there's yellow and her skin tone kind of balances and with that and then there's the blues and all the Blues are the same color so again it's forcing the eye to look at the whole photo you're not your eyes not being pushed to one one different thing that's water brain naturally does like red and colors that pop more we're our eyes get forced into looking at that yeah I think I want to kind of go to a deeper deeper blue so you see - you can push this over to old magenta kind of has a filmic look and this green teal kind of has a little bit more cinematic I used to be a big fan of just like push and blues to super till but as my I'm pitchers a little bit more I'm kind of keeping a little bit more of a natural blue going all right so just like last time we're gonna go into new filled layer now we're gonna go and color grate it so again you say that's a color grade but so my thought on this is I have a lot of yellows and like warm tones and a lot of teals blue blue tones complementary colors that's what movies use this color palette so much but one way to kind of add a third color to give it a little bit more life as in the shadows most people would probably just go to a tool to me this looks - I don't know too overdone too basic so kind of a color to me that complements this color palette a lot is like this magenta so I'm sure if you go on a color wheel this would naturally happen so let's go in the highlights now a little bit of a green cast of the highlights and then you're kind of seeing kind of add like a pukey look to your skin so we're gonna counterbalance that with the mids and bring it back into kind of like the warmest red hues go back to shadows kind of to warm parts or to go into the blues a little bit cool loving this so you see I got my eye this is how I like my eye sees things when I'm shooting photos already know that this is how I'm going to edit it compared to this so some people might like this to me I didn't execute well I mean I did it real quick but my eye just doesn't see it this way my eye sees it this way and I've been doing this for years now this whole look so I kind of have it dialed down to a tee let's see what's going on in or sharpen this again let's pop our green in there I kind of add more punch so I'm going to go into my clarity also this is a custom layout I'm a 4 from my processing so let me know guys let me know if you guys are interested I will export this I think I can save this whole layout and give it to you guys I won't I won't put it up for purchasing they'll just let you guys have it for free if you want to just let me know in the comments I don't know if any guys would be interested in that I don't know if workflow is totally different for other people let's go in and bump the contrast up oh yeah this is gorgeous so it looks if I lift my shadows uh ya see it starts looking to edit that way that's another thing that's kind of happening as my as my eye adjust and matures I'm kind of liking a little bit more contrast and crushed blacks let's go back up to color grading layer go down under curves sorry now I'm bouncing around a lot actually go to our luma so luma the luma section occurs affects just a luminosity if you the RGB you'll see it kind of messes with the saturation and the colors but you want to keep your colors natural you can use this and you see the stature which is not going all crazy see I'm try not to mess this up too much I kind of did hmm yeah no all right let's redo that there's like a weird uh like shadow lift going up here uh this is also another trick to when you're in the curves you go into your your pick her up here where's luma curve right here so I can just click right here and they'll create a point for me I'll just click up here oops there Dericks I want the recipe affected I was just bring this down actually let's leave that blank so it brings all the shadows down there it goes so it looks if I lift those yeah that's one thing so I'm gonna if you guys have seen test on the XC 2 verse 63 off the bat it doesn't seem like there's a big difference like the sensor it's a totally different sensor but it doesn't look like there was a huge quality upgrade but when you're editing you can push the XG 3 files a lot more that's what I've learned at least especially in low light yeah there's more noise on the xp3 but there's more sharpness and clarity so when you do noise removal and it looks cleaner overall especially for a video that's right Barret really notice the difference let's just go on to our shadows real quick and let's actually I don't want to miss it the huge one term saturation hue bring that down a little bit let's go to mid-tone so let's try to let's see what this looks like I kind of like it let's see yeah and then highlights yeah there you go yeah I love this I think this is gorgeous let's go back to our color correction I want to push us more so let's go and to car the grade and let's push those yellow leaves let's push those more and see what color we get those did I click it well I guess and bring that up see it's got your skin tone so let's take that out there goes let's get all these alright let's push that so don't want to look too overdone still want to look pretty editorial I think that's what I needed there it goes all soon you see she just got separate from the background so see right here everything looks kind of muddy everything's can kind of like blend it together but once you lift those aliefs up all sudden she kind of pops all the photo kind of get more of a 3d effect so that's one thing I see a lot of people doing is they try to get perfect contrast and evenness throughout the whole photo but that that's the reason that people are losing like that natural cinematic look if you watch a lot of films you'll notice that the background was kind of that bit the haze because that's what naturally happens I was like the physics of the earth the kind of a haze in the background and it kind of represents distance so you'll see again let's just turn this off you see everything looks kind of compressed and it kind of looks flat and then you pop that up and all a sudden there's it gives a little more depth to the photo so now let's go and copy and paste this onto these other photos and see how it turned out oh that's so gorgeous there's a little bit too green let's go and correct that real quick so again this is where my eyes starting to develop and I'm starting to kind of grow a little bit again I would a couple years ago I would just make those like cute green now these days I'm keeping a little bit more natural this is why I take for her to edit photo so I'll just sit there forever trying to fine-tune it no one sees a difference but I see a difference these are the ones are always underexposed let's go and let that exposure up yeah I love this photo love that blur so usually when there's a pleura though it looks better when it's black and white so let's just reset this real quick the light fall-off I do have presets available for purchase so have a black and white one that I absolutely love like now you see that motion blur gives it so much emotion watch let's click on this real quick let's bump that exposure up conscious down shadows down highlights down see that just gives it's like all of that let me run you through these real quick so you see it kind of has like a very strong heavy-handed grade each of one of these presets my favorite ones tend to be five through seven but on certain photos one through four like really just freakin kill it when these ones don't work since they're so heavy-handed but say if you click seven go under white balance and you can see how big of a difference just messing their white balance what it will do for you so usually with these presets I have it's like best to do the white balance to get the skin tones right and then usually the rest of the photos what I intended them to look like so now we go to these other ones and actually it's still applying those but yeah mmm let's see real quick what's this one looks like I love this photo oh yeah this already looks way better exposure this exposure oh yeah that's it right there another thing I like but the saturation tool in capture one is it acts like the vibrancy tool in Lightroom I really don't know why anyone would need a saturation tool I always end up just turning it down in Lightroom some reason Lightroom over saturates Fuji skin tones I've no idea why I just always was saying my skin tones end up always looking like a Oompa Loompa so you see again we have some little more separation from her lips so let's go and click on her lips and try to pump up the color in there just take him skin tones out let's just wind this up a little bit drag this down a little bit more I was just her lips those up gorgeous god yes let's bring down the white bounce a little bit really get those blues popping alright so yeah just try to walk you guys through what I do again this is pretty much my most requested videos color grading video so I want to do more of these in different styles well maybe different styles I don't know tone what you guys want do you guys want to see different styles or do you want to see my specific looks that I always make I've gone through so many if you go through my Instagram you go back a couple years I'm gonna be a lot of work so I upload a lot but if you go back a couple of years you'll see that my work looks totally different than it does now yeah guys let me know have any questions check me on Instagram you could dammy there it's kind of hard for me to keep up on things sometimes and we're working photographer so I have models and brands and everything hitting me up so it's kind of hard for me to keep up on dams and comets and everything so just be patient I try to get to them whenever I can usually when I call in the bathroom so there's some truth for you but yeah guys peace

Channel: cammackey

Views: 23,674

Keywords: Capture one fuji xt2, capture one fujifilm simulations, capture one fuji express, capture one fuji raw, capture one fuji tutorial, capture one fuji profiles, capture one fuji sharpening, capture one fuji workflow, capture one fuji review, Fujifilm xt3, fuji xt3, fujifilm xt2, fuji xt2, fuji xt3 review, fuji xt3 vs sony a7iii, fuji xt3 video, fuji xt3 vs xt2, fuji xt3 footage, fuji xt3 vs zh1, fuji xt3 cinematic, fuji xt3 low light

Id: ZZ-rTQXzZQo

Length: 31min 42sec (1902 seconds)

Published: Sat Mar 02 2019