How to RETOUCH SKIN in Capture One 20 - COMPLETE PORTRAIT EDIT in 30 minutes

hi everyone this is Cash's mocha from digital art classes and in this video I'm going to show you how to perform a complete portrait edit in capture 120 and specifically who will be focusing on skin retouch as you know capture one very recently got an update and now we have dedicated tools dedicated brushes that can be used for skin return so to check how these brushes work I have picked quite a demanding portrait so we can see what can be done in capture 120 with these new features with this new brushes and what still requires jumping over to photoshop so let's take a look at the original image so this is our starting point I have picked this image to just check the possibilities of the new feature this will be our starting point and we will be working towards this result as you can see this is still a raw file I haven't cheated I didn't jump to Photoshop I've done all these corrections in capture one so this is the starting point and this is what we are going to get at the end of this tutorial ok so quite a lot of adjustments ahead we will be working with the skinny Rita to of the heel brush will be working on luminosity adjustments we will be dodging and burning and we will be color grading so quite a lot of work let's get started so let's first move over to the original image this is image before any adjustment this is original raw file so as the first step I want to add just color balance let's just zoom out and if we take a look at this image in terms of color temperature I am quite happy I don't need to make this image cooler or warmer I like the neutral tones however I don't like this greenish color cast that is visible here over the neck in the shadow area and here around the so I'm going to move over quickly to the exposure top and here with the white balance tool I will be working with the tint slider to add a little bit more of magenta to get rid of the greens so I will be working with the arrows on my keyboard because I want to make a very little difference here with the numbers so I'm going to just move my arrow upwards and that way I'm moving slider very precisely towards the right this is already too much so the value around three point nine is fine so this is before and this is after fixing the greenish color cast so now having this issue out of our way we can begin retouching the image let's just zoom in and I'm hitting command B on my keyboard to get rid of the browser to have a little bit more space because we will be working quite a high zoom level when retouching skin okay so let's begin so all we need to do is to just select the heel brush here from the layers panel and before in the previous versions of capture one you had to create a new heel layer in capture 120 you don't have to do this anymore all you need to do is to just pick the brush and capture one will create the source point automatically and it will create your heel layer automatically as well so let's just check the brush settings I'm right clicking on the image and here when it comes to opacity I want to have it at 100 when it comes to flow I want to have it quite high value as well so 85 when it comes to size I will be adjusting it dynamically during working on the image and let's have the last option selected for now display arrows okay so let's start working on our image so I'm going to start here over the nose and all I need to do is to just paint over this imperfection and as you can see capture one automatically created the source point and that way the empower faction got removed if you move over for your brush from the viewer area the the arrows are disappearing so we can continue working that way let's just paint over those spots that we want to heal so most of the time as you can see capture one does quite a good job when it comes to sourcing this points sourcing pixels that are next blended into the spot that we want to remove there will be situations however when you have to adjust manually the source point and sooner or later you will run in this sort of situation so if you are bothered with these arrows you can switch them off so if you want to do this you can right-click on the image and antique this last option display arrows and that way you won't see the arrows however I think that seeing them is actually helpful because it gives you more control and you can readjust the source point manually so you can continue working that way and it takes a bit of time of course you need to be patient and you need to be precise so working that way you will be able to get rid of most of the points that you want to fix so am I convinced that this is enough when it comes to skin without I would say no in terms of this image I was able to achieve quite satisfying results however if I had something even more complex more difficult it would be much better to move over to photoshop so why am i showing you this why am i showing how to work with these brushes so when you have images that are definitely too time-consuming to be healed that way it will be beneficial to move over to photoshop however if you can spend something between 15 to 20 minutes and retouch difficult sorry to clean the image that way I would say this is still worth the time spent because you will be still working with a row file if you move over to photoshop if you perform skin every touch in Photoshop either with dodging and burning or with the frequency separation you will get smoother results you will get better results I would say however you will be losing all the data that is still available when you are working with a row file so I would say if you can get satisfying results with capture one stick to capture one so as you can see working that way you can get quite a nice results so this is the stage before and after and I want to show you one more thing because so far I was retouching very small elements very tiny imperfections in the skin however this tool the heel brush can be used to remove quite large elements in images as well so I have already managed to get rid of this stripe when I was retouching this image before and I want to show you how to do this so all we need to do now is to just paint over the stripe so this will be the area that we will heal I'm going to paint slightly over the edge so I will have more flexibility when it comes to blending this area capture one automatically picked the source point and this way I have removed the object this time capture one did quite a good job when creating automatically this source point most of the time when it comes to removing such a big elements and here when we are working with a human body it will require some auto adjustment so all you need to do is just click on this little circle and readjust it I'm not going to touch it because the result I have achieved is quite good so this is before and this is the after for the sake of this video I will be not working too or super perfect results I just want you to have the idea what can be done with this tool so you can continue working that way and perfect further skin in your portrait I'm going to pause now and jump to the stage where I have finished skinny with the heel brush okay so this is the result I was able to achieve with the heel brush so I have started with this oral file and after about 20 minutes I was able to get to this stage as you can see here I have actually two heel layers and here is one tip that I want to give you because when you are working with this brush and if you want to go quite deep into the Civitas if you want to perfect the skin you will very quickly reach a stage when working further is quite confusing because there is so many of these arrows there are so many of these source points so I found this little hack that you can actually manually create another hill layer because when you have this layer selected and if you continue painting it will be still in this very first layer but you can add another hill layer and to do this you just need to move over to this plus and from here select new Hill layer and then here you can continue working with your heel brush and you can spend as much time as you want on retouching the image however as I've mentioned before it doesn't make any sense to spend one hour with this tool in capture one because you can do this much faster in Photoshop so the decision is up to you I just want to show you that if you create more heel layers it gets actually easier so this is my first Hill layer where I have performed the majority of the skin retouch if I hit em you can see the overlay so I have retouched all these points and then I have created the second heel layer and here I have finished my in without so at this point we have cleaned the skin we have performed the skin retouch with the heel brush this is the starting point and this is what we have managed to achieve now as the next step I want to show you how you can combined looma masks and negative clarity value to soften the skin as you know we use clarity tool to add contrast in the mid-tones in our images so let's create new fill layer and I'm going to rename this layer to skin and let's move over and find our clarity to also I'm in the exposure top and the clarity totally sitting here at the bottom so if I add positive values I will be adding contrast to the mid tones in the image and I will be achieving quite a harsh texture visible here in the skin so if I go in the opposite direction if I introduce negative values to the clarity you can see that I am getting quite a nice result but I don't want to have this effect applied over the whole image because the result is just awful I just want to soften the skin locally in selected areas and because in this particular image I would like to soften the highlights I would like to soften the skin in the brightest parts I can very quickly create luma masks that will include just the brightest area and then I can just apply negative clarity value to these areas so let's do this let's just select our layer and let's quickly heat on luma range so that way I will be creating the luma mask let's tick display mask so we will see what we are doing and let's include the brightest tones and exclude mid-tones and shadows so when it comes to selecting the luminosity range I think something like this will work quite well in case of this image when we want to soften texture of the skin I would recommend readjusting these values and creating more soft masks so when when it comes to sensitivity and we'll go down with this slider to zero so that's why the mask is more soft more generic and I will increase the radius so we can achieve softening of the skin in a very subtle way so we can readjust these sliders okay let's apply our masks and now when we have this mask created if we hit M we will see the preview of the overlay and let's just move over to clarity and let's apply negative clarity here to our highlights we can zoom in so we will see what we are doing here I just want to make these areas smoother softer and make this skin texture a little bit less visible okay so let's apply negative clarity value to our image so this is before this is the after it's quite a subtle change but adding all these little adjustments to our layer stack will give us quite a big difference in the end so this is before applying the luma mask and after softening the highlights the brightest areas in our image with negative clarity value having the super precise mask created with the luma mask tool I can now use it to brighten only this part in the image to bright and only this luma range so let's switch off the overlay and let's work with curves so I'm going to be working with luma curve and I'm going to add a point in the middle of the line and push it very very slightly upwards so this will brighten those highlights and will make the skin even softer so this is before and after correction that we performed on the skin layer okay our next step I would like to adjust the eyes so I'm going to add a new empty layer and I will be painting the mask manually with brush so let's hit B on the keyboard let's adjust brush setting so flow I want to go a little bit lower and let's just paint that's maybe displaying the overlay and let's paint over this part in the eye okay I saw something like this and let's repeat this in the under eye okay so having the mask created we are going to switch off the overlay and move over to the HDR tab and here we want to open up shadows so I will be pushing the shadow slider I think this is a little bit too much we can always revisit this and readjust if this will be too strong effect so this is before and this is after we can open up blocks as well here so before and after okay let's zoom out and let's apply a bit of clarity as well so we've been working with HDR let's not go to clarity and let's apply some clarity this is actually darkening the ice and just increasing the contrast in the mid-tones so this is the ice before and after adjustment let's just rename the layer to keep things tidy and organized okay so this is before and the after okay so at this point we have retouched the skin however the image overall looks quite flat and we are going to target this with a bit of dodging of course you can do this in Photoshop however it can be done quite efficiently in capture one as well so let's create first a helper layer that will turn our image temporarily to black and white because it's much easier to dodge and burn to apply dodging and burning on the rack and white image so let's first create new field jasmine lair let's call it black and white remember this will be our helper lair and let's go for saturation and let's just go all the way to negative 100 let's now add two more layers new filled layer and this will be our dodging and let's add second new filled layer and this will be our burning okay so when it comes to dodging let's find our curves we will be working with luma curve let's just create a point in the middle and let's push it upwards when it comes to burning let's create new point and let's push it downwards so all we need to do now is to just invert those masks so let's hit invert mask for burning as well invert mask and now we will be using the brush to paint and locally introduce these adjustments and that will be either brightening selected areas in the image or darkening so let's start with dodging will be brightening so let's select the brush and let's check our brush settings it's very important to keep flow at the very low value so I will go for me before opacity 100 is fine sighs we will be adjusting during the painting process and when it comes to hardness let's go for zero so when you are dodging you are working on making all these transitions in the image softer more harmonious I'm talking here about the transitions in terms of luminosity so for example when we are looking at the cheek here we have this transition here between the bright part and dark part that is not as smooth as it could be so we can work towards improving its I'm going to increase the size of the brush a bit and I'm just going to paint over this darker areas so by working that way I'm making this darker spots a little bit brighter and making the transitions smoother so if you hit em on your keyboard you will see the mask that you are creating you are seeing these areas that you have painted in and similarly as in case of working with the hill brush this requires quite a lot of precision and patience I'm going to pause now and jump to the stage where I have already finished dodging okay so here we have our image with the dodging finished so if I display the overlay this is my mask this is what I have affected with dodging let's just hide the overlay and let's see so this is before and this is the after so you can see that I have very quickly done both I have applied some dodging to remove those darker lines to brighten a little bit the area under the eyes plus I have introduced stronger highlights into her so this is what I have done whoo if mine dodging so again this is the mask and this is before and this is the after so now we can get back to color let's just move over to our black-and-white layer and we can get back to our saturation that was initially set at zero and we can continue working on our portrait okay so here at this point we have healed our image of the heel brush and we have performed some luminosity adjustments let's now add a little bit more contrast to the image because it's quite flat so let's create another field adjustment layer and let's rename it let's call it luminosity okay so here I'm going to be operating with curve let's just pull that all out so we will be more precise here I will be working with RGB curve because I don't mind adding a little bit more saturation to the colors so we can help ourself a bit you ready preset here so I'm going to click here and select contrast RGB so that way I'm using the ready preset that is available in capture one maybe I will reduce this point a little bit to make the highlights it will be less strong but the contrast that I have achieved is quite nice so let's zoom out and let's just put our curve back so the darks got a little bit too intense let's move over to the HDR tool and let's try to open the shadows a little bit so I'm going to be working with this slider and this is way too much something around maybe 14 so this is before this is the after and let's maybe operate with the blocks here I will be using the keyboard something around 3 I think this helps a little bit as well okay and as a last step on this layer I'm going to touch up the contrast slider in the exposure tool and move it towards the left because we've added quite a lot of contrast with the curves and with this this is going to be this little nice softening touch okay so on our luminosity layer we've added contrast to the image and we've added saturation because we have used RGB curve to add contrast if we were working with the luma curve we would be adding contrast without affecting saturation in the image however I don't mind making these colors a little bit more vibrant so with this layer we have achieved just that we have just two more steps to finish this add it and the very next step is color grading when I have started this edit I've mentioned that I'm happy with the color temperature with the neutral look so now this is perfect occasion to work a little bit more to add a little bit more color to the image so I'm going to create a new field adjustment layer and let's just rename it to color and we will be working with the easy color grading tool in capital one which is color balance tool so let's move over to the color tab and let's just find our color balance here it is let's just pull it out and let's move back to our exposure tab because here I have my layers set to large size so I can see all of them at the same time here I would need to adjust this okay so let's focus on our color balance tool in general my idea for this look is to make this image quite saturated and quite warm so here we have complementary colors we have this nice orange a warm tones skin tones against this cyan in the background so I want to make the skin tones warmer and I don't mind losing a little bit of those science because we are focusing on portrait here the skin is the most important factor and I want to make it look as good as possible so when it comes to shadows I want to inject a little bit of orange in the shadows to warm it up so something like this when it comes to saturation this is fine and I'm going to use this slider towards the right to darken the shadows because apart from injecting specific tint into our image with this tool you can as well effect luminosity ranges so that maybe more it will be towards the orange so let's make the shadows a little bit darker okay something like this is perfect let's now work on mid-tones so here I'm going to be injecting similar tone I'm going for this nice warm orange a tone that is making skin tones more saturated so this is before this is the after here I can make them just slightly brighter I'm not going to be changing this value when it comes to highlights I want to keep them neutral but instead I will be working with the master tab here so when it comes to master I will be adding very similar color so I will go for this very warm or in G tone something around here and when it comes to saturation maybe this is a little bit too much so I can go down and make it a little bit less strong okay so this is the result we have achieved this is before and this is the after if this is too strong you can either readjust those values here in the tool itself or you can work with opacity value for the layer so if this is too strong you can maybe reduce this a little bit I'm going now to very quickly focus on the background and make it a little bit smoother with the advanced color editor so let's just very quickly add new field layer let's rename it to BCG for background so let's jump very quickly to our color top and here I'm going to find color editor and we'll be working actually with skintone so I will show you this very simple trick that can be very helpful when you want to make the background a little bit more smooth because I'm working here on the portrait and there is quite a lot of things going on in the background we have this brighter elements we have this highlights so I can very very quickly unify them with the skintone tab in the color editor so all I need to do is to just select the color picker and just remember to have the layer selected we are working on the background layers on now skintone the color picker and let's just sample and were here on those brightest areas in the background and let's now make sure that the whole saturation range will be included in our color selection so let's click here so this is our selected color range that will be affected so all we need to do now is to just manipulate with this last slider in the uniformity group with the lightness slider so let's push it all the way to the right and as you can see this made those differences less visible so now the background is more smooth this is very very simple very useful trick and if we would like to adjust the color we can maybe go for a slightly stronger saturation and maybe you can make it brighter okay so on this layer we've been adjusting the background and now we can add a very last layer at the very top and here we will add few more final touches so here I will be focusing on sharpening the image because capture 1 applies sharpening to the image in three stages and now this is the middle stage the first stage is when capture on imports images from your memory card it already applies a bit of sharpening now you can apply sharpening with the sharpening tool and the third stage the third step when it comes to applying sharpening is when you are outputting new images when you are exporting your images to the selected format so let's move over to our exposure tab and let's actually rename this layer to sharpen and let's quickly jump to the detail tab and here we can work with sharpening here it is very important to zoom to at least 100 percent I should say to 100 percent or if you are at the retina display as me in this case it is helpful to look at the image at 200% so when it comes to sharpening I can say that less is more just try to make your image look clean and nice but before overdoing so here with this value of 300 we have this artifacts visible here this can be easily fixed with halo suppression so if I move this all the way to the right this is fixing the issue this is fixing the problem but I don't think there is any point of moving further with sharpening so this is before this is the after again before and after we can add a little bit more of clarity but with this I would be super careful because we've been spending quite a lot of time on softening the skin on retouching the skin and clarity is something that has to be applied with caution so we can apply a bit of clarity to the image and maybe we'll work with inverted mask okay so here this is our mask let's just invert the mask and let's try our sharpening and clarity locally so I will be quickly painting in the mask with the brush so let's hit the B and let's go for flow quite a high value opacity and maybe a little bit harder so I will be now painting over these areas in the image that I want to have sharper let's switch off the overlay and I will be avoiding obviously the skin I will be avoiding the cheek I will be avoiding any areas that we've been spending time softening so definitely I would like to have this areas in her more sharp I don't want to go near to the edge of the image so let's just focus on sharpening the eyes a little bit of the hair here and maybe a touch over there so if I show you the overlay of the mask this is the mask that I have created that's maybe a little bit more here the point is to avoid sharpening the point is avoid adding clarity to the skin let's zoom in and now we can check so this is before applying sharpening and clarity and this is the after as the very last touch I would like to add some film grain to the image some film grain simulation so this can be found here under sharpening so here sharpening and film grain I will be using my be silver or tabular grain let's just compare so if tabular I have the value now 25 so I want to go a little bit higher than that I think it doesn't work with tabular let's move back to silver rich so this is before and this is the after adding feeling grain very nicely unifies texture in the image and adds it's very nice final touch this les digital look okay so this is our final result and let's maybe just the very last step Leslie maybe go a little bit lower with saturation so I'm going to jump back to my exposure tab and here in saturation that maybe do this on color layer and I'm just going to pull it slightly to the left to get a little bit more of this silverish look okay so this is how I would personally approach editing portrait in capture 120 and I must say that these new retouching tools I'm talking here specifically about the hill brush that we have used to perform the skin retouch in this image so this is when I switch off these layers this is our starting point this is what we have started with and this is the final result so as you can see these brushes can be used to retouch the skin we can get quite efficient quite successful results in a very short time of course if you want to get a perfect skin if you are working on a beauty result you have to jump over to photoshop but if you are just working on a regular portrait you can just stick to capture 1:20 and with this new brush this can be done easily if you would like to learn more you can visit my blog I'm going to write a blog post on this so over there you will be able to see the details screenshots I'm going to upload some high-resolution screen shots and it will be able to see the before and after I'm going to write as well in detail all the steps that I have performed during this edit so link to the blog article will be in this video description below so thank you for watching if you have any questions if you would like to comment please feel free to do so under this video in the comments area and you can do this here on youtube or on my blog I'm going to add comments over there as well so thanks again for watching this was Cash's moco from digital art classes

Channel: Kasia Zmokla

Views: 14,662

Keywords: Kasia Zmokla, photo editing, photography tutorial, capture one pro 20, portrait edit, skin retouch, heal brush, capture one, raw, how to edit portrait, how to retouch skin, capture one 20, capture one pro, capture one 20 tutorial, capture one tutorial, skin retouching, capture one portrait retouching, capture one 20 editing, post processing, capture one 20 photo editing, capture one 20 tutorial portraits, capture one workflow, capture one portrait editing, raw converter

Id: 0QIGbGpcFZ8

Length: 36min 10sec (2170 seconds)

Published: Sat May 30 2020