Live Editing Sessions - Capture One - 13th May 2021 (Orton Effect, Skin Tone Tool, Colour Picker)

hello everyone uh welcome it's thursday again um so you're back with me um for those of you that are back with me for those of you that aren't shame on you um you shouldn't be doing other fun things you should be sat in front of your computer like alan in australia who is sat with his tea instead of being out on white pristine beaches which made everyone jealous last week so there we go um so hello to everyone that is online um for those of you that have been here before so that's people like paula and uh where are we jeff laura's been online before tom dan allen ulrich bill brian brian brian a few browns lots of you mark and whatever welcome back to those of you that haven't been uh online before while we're live this is an absolutely interactive session i want it to be interactive otherwise it gets very boring just talking um at you um so please we're going to spend the next hour going through your images or the images that some of you guys have sent in and during that time we'll edit if we can as much as we can but please please um interact or interrupt interject um sending questions sending comments thoughts if you think we've done something wrong or weird then ask away ask the question sometimes we get stuff wrong that happens that's fine um but please make it as interactive as you want remember there is about a five or six second delay between when i do something and you see it on your screens which means when you comment it takes about five or six seconds for it to even show up for me to be able to see so it's not me ignoring people that's just the way that streaming works um we're in capture one so capture one being the raw editing program for those of you that don't know what capture one is um you're gonna be a bit surprised when we go through today because i'm not sure how you got here for those of you that do know what it is make sure you're running on either version 20 or version 21 21 is absolutely the current version it's actually 21.1.1 um the 0.1.1 is important because there's a lot of bug fixes that happen throughout the lifecycle of software if you don't have capture one but after this session think actually it's well worth having a look at go to captureone.com you get a free 30-day trial um there's no this isn't affiliate stuff and trying to make money out of links just genuinely go and play with it go and break it for 30 days um if you can um see how it behaves there's no limitations there's no restrictions just um have a look if you're on 21 and you're not up to date go to your downloads section online and download the latest version if you're on version 12 11 10.98 prior it's probably worth having a look at what the upgrade price is to get some of the current features which we'll be using today so let's move into capture one itself so there's our interface um for some of you that joined david's session i think on tuesday from memory um he talked about customizing the interface and we're going to just have a little bit of a recap of that quickly then we're going to cover something which was requested by was it alan i think alan clark um about the awesome effect and we'll cover what you can and can't do in capture one because there are there are some limitations in there but we'll show you what we can get into um and we're going to start with this shot from jeroen which is the snowy scene so just covering and just recapping on the customized stuff that david ran through um capture one and actually you'll remember this if you watched it basically four elements to capture one the toolbar completely customizable go to customize toolbar by right-clicking up here and you can drag and drop functions to your heart's content these flexible spaces are kind of handy because they sort of shrink and grow as you're adding tools in but a lot of people add things like guides up here as a as a button rather than having to go to the menu um some people if you're tethering some people have other functions up there as well but it is useful to have your own set of tools up there in the way that you want to work the next um obviously is the viewer this big thing down here just one quick catch-all for everyone if ever this information here is missing go to view go to customize viewer and it's this one labels so every now and then we get questions from people saying how do i find out um the iso the aperture or whatever the shot was done on you don't have to of course you can but you don't have to go to the information tab it is in here um this is your exif information from the camera but it is normally displayed along the bottom of your viewer if it's not it's probably because under customized viewer you have labels turned off really quick simple fix um beyond that of course you've got the browser on the right hand side i have mine on the right-hand side you don't have to so if you go to view browser and you can choose to place it below puts it along the bottom like a film strip the browser itself and again you'll notice in here there are the star ratings so three star in this one and we can do a color rating as well some people find that that's missing well one of the reasons it's missing is because they've made the icon size too small that's all it is so all you've got to do if you do find those in all the bits of information missing number one check that under customized browser you're not missing the labels because that's what those are number two make sure you're not zoomed out so these icons are so small that they can't physically place the labels under each image so there's a bit of a bit of a handy hint um for those of you that don't want the browser on the bottom again view customize browser place right or shift command and b moves it or toggles it left to right and for those of you coming from other editing pieces of software and stuff sometimes you want the controls on the left well literally um on the customized tools place right does the switch so if you prefer that way of working you can to a lot of old capture one users that feels very foreign um but if you're if you're happy um working that way then there's no reason why the tools have to be on the left it's just out of the box that's what it's going to do so just a quick little recap on that remember you can customize all of these things and there's loads more you can do with the workspace we can pull out tools you can have floating tools and so on but those are the quick ones you know labels disappear for people um the browser can end up with missing information if it's too small um and if you want the tools on the other side then knock yourself out right orton effect uh we said we'd um we'd pick up on this so alan's question was alan um from memory now um was is it possible to achieve the orton effect in um capture one the short answer is no um so that's we can stop there i guess um but actually let's just break down why and what we can do so orton effect for those of you that aren't familiar it's a there's a photographer called i'm going to get it wrong it's michael lawton i think for some reason i thought matthew autumn but i'm sure he's michael orton made an effect very popular um because it adds a sort of a painted or water colory feel to an image and the way that it was done was actually in developing from the same position effectively two or three shots together so you had obviously your normal standard shot then he would produce an overexposed shot that's still sharp and then he produced an out of focus shot that's overexposed as well and in the dark room blend them together whether it was selectively or across the whole image and that results in a feel of almost like an ethereal sort of feel a very um very ghostly feel across some of the highlights um with a lot of smooth stuff going on in clouds and things like that so a lot of people tried to emulate it and most people have now managed to do that digitally so the way digitally that a lot of people will do it is in something like photoshop or affinity or you know other pixel editors are available but it's actually a process where you create layers um with one layer being blurred and overexposed one layer being not blurred and then you can and there are different layer blending options in in pixel answers like screen or soft light or multiply or whatever and you can then selectively apply that glow to certain areas of the image now we can't do some of that stuff in capture one it's not designed to it's designed to edit a raw image and get the best quality of image out of it um but we're talking single image at a time but what we can do is some of those elements around making the sort of highlights and things like that slightly more ghostly and painted um than others so we'll run through how you can get to there now so this shot here i'm actually going to make some quick adjustments before we even get started just so that we've got a baseline which is not overexposed as this shot is slightly if i go to our exposure warning we get a bit of a scary reaction up here if i pull this down there's not much detail up here there's not much data so like we've talked about before there does come a point where pulling down the exposure isn't going to help you because there's nothing up there anyway maybe there's a bit of blue in there but we are really starting to struggle so we'll pull the exposure down a touch and i'm going to pull our highlights down a little bit more i'm going to add in some clarity and i'm just going to shift up the white balance just a little bit just to be a little more neutral there so overall a few little tweaks and that's probably where i'd go with this picture if we were leaving it natural but there is our baseline from here so i'm just going to clone this so that we've got the ability to come back to what we've already done so cloning remember right click go to clone variant rather than new variant new variant will go back to the original raw and pertain no adjustments cloning the variant takes that raw with all the adjustments you've done across to another one that you can now play with so there's our base photo let's add a new layer i'm going to add a filled adjustment layer and we're going to call this one what should we call it rawton because it's not awesome effect it's sort of brief northern effect ish okay so let's have a little think about what we're going to try and do to simulate that overexposed slightly blurry look well the first thing is let's start to overexpose it i'm not going to use the exposure tab to do this if i do it with exposure the risk is we actually push all those things that we we pulled back out of the histogram so instead we're going to use brightness and brightness rather than sliding the histogram left and right it squashes the histogram so we're going to push more stuff to be bright without pushing it off the end so there's still no massive exposure warning that would happen if i'd done that amount on exposure so we now have a brighter image what about our highlights well actually we can push our highlights a little bit more not too much fine i'm going to reduce our contrast a little bit minus 24 it's quite a chunky change but it's all about starting to mute and soften the image here so we get less differential between the the darker areas and the lighter areas clarity minus 100 so we can't blur things in capture one not paul we don't have a blur tool it's not a pixel editor it's not designed to do that but what we can do is reduce completely the micro contrast that happens between different edges and different textures and that's what clarity does so clarity in a positive way will increase contrast and that looks really nice um that's nice and crisp we've got all this detail in here pretty good but unfortunately that's the opposite to what we want in the autumn effect what we want effectively is none of that we want to get rid of all of that clarity rid of all that detail and we want it to look really soft and almost flat so not minus 100 negative clarity i'm also going to do the same with structure so structure is a sharpening tool and it's looking for textures and very fine details so again we're going to knock some of that out not all of it um but you know maybe something like minus 30 minus 40 around there hey so be careful with this because the temptation is then to say well okay well i'll just dehaze minus 100 as well well number one if you're going to do that you've got to choose the right haze color so choose the right color with this picker here for the shadow tone so i'm probably going to choose out here number two we've overdone it it's overcooked um so be careful that you're not adding it so if we use dehaze strictly it's going to get rid of all of that foggy stuff we want to add a little bit more in but don't overdo it now we now have a shot which is actually pretty overdone pretty overexposed pretty flat pretty well it's missing all details and everything like that compared to our baseline which is this one so this is our background layer this is our one with all those tweaks on it now how to apply that just to the highlights so what we can do in something like photoshop is you can add a layer which is either screen or multiply um version which means that photoshop will only apply um the the changes to those pixels if certain criteria are met and we can use it to maybe only attack the highlights or only attack the um the low lights or the shadow tones well we instead we've got luma range so i can choose our luma range here and say for this layer which is a completely filled layer so let me just turn on the mask press m on your keyboard the whole layer is filled so it's applying everything to everything on the image i can go to luma range and say well actually i only want to apply this effect to the very brightest parts now that's all well and good but now we've got some falloff problems here because it goes very sharply from that sort of ethereal look and and slightly faded look to the sharp crisp detail in the um in the darker tones so we're going to stretch out that fall off so it's a really slow ramp and remember what this does is it says for this layer all of these effects are now going to apply only when a pixel value is between 176 which is this marker here and 255 this marker here 255 is the stop dead point but everywhere from 176 which is pretty bright all the way down to 40 which is very dark slowly taper it off so slowly reduce it effectively feather that off without a sudden drop off um in in that effect of course we can add on radius we can we can do it a bit of softening on the edges but for this purpose i'm just going to hit apply and now what we've got is there's our original or our baseline and there's our effect with a slightly similar ish um to a norton effect where we've effectively got a blown out or not a blown up but an overexposed or highly exposed um area in the highlights which is softer it's less detailed so if i turn this off we've got all the sharp detail here in this rock if i turn it on then that started to fade away but still we've kept all this detail down here in the shadows now that's one approach to doing this but of course the advantage of a loomer range is we can do the opposite because we can actually flip this and say well actually i want to apply it to all the shadows now and not to the highlights now this is going to look pretty horrible don't don't worry it's meant to just to show the point but i can change the way i do things using the luma range rather than being fixed in terms of some of the layer styles that exist in in pixel edits so that's one way of doing something similar as i say it's not possible to get a hundred percent towards that full you know orton effect watercolory sort of painted um effect on on some of these scenes but you can use this method to get close and the method is really simple reduce your contrast increase your brightness not exposure increase your highlights a little bit not too much clarity minus 100 structure probably about half as much somewhere minus 30-40 dehaze a little bit but don't overdo it and then use your luma range to control what is in and what is not in that effect now let's go one further which is we're talking about the luma range deciding what's included and what's not well we can actually in fact let's go to remove our luma range instead of that what i can do is i can paint this in so if i just now right click and go to clear mask so we end up with a mask let me just turn it on m so a mask that is now gone all my settings remain but now i'm gonna switch to a brush really really really soft brush so hardness at zero opacity actually in this in this case it's going to hurt me to say we're going to do it david's way we're going to reduce our flow quite low down and a reasonable size brush and the reason i'm doing that just so you can understand is i'm not looking for a consistent amount of application i'm looking to to be able to effectively very randomly blend this in but now what i'm going to be doing is painting in that effect into a mask now it's going to ruin it with the mask turned on so let's just undo that turn my mask off and now i can paint in that glow all the way along these mountains so i could even do it down here in the foreground a little bit so even though these bits wouldn't be included in a luma range selection i can choose which bits i want to have that nice soft glow just like that now my mask is gonna look pretty messy as you can see but it's getting to where i want it to be so that's again another way of applying that set of changes and adjustments and all the other stuff so without and with selectively once you've dialed the adjustments in so that's sort of where i get to as i'm hoping alan that answers your question of so is it possible to do the complete defect within capture one no it's not it's also not possible to do it in things like lightroom either um you'd normally traditionally have to take it into photoshop or affinity or whatever else into a pixel editor and apply smart layers to try and effectively copy what the orton effect was from the dark room originally but we can get pretty close to it within capture one by using that little quick recipe and either using the luma range to selectively choose to apply it to the highlights or the shadows or by painting it in selectively in the areas in your shot that you want it to apply so hopefully that'll make sense um for those of you that are wrong whack in comments or or pick up things that are completely wrong in that setup um and we'll talk about it but hopefully that's that's the answer that alan was looking for it is possible just there's a couple of tweaks that you need to to play with um regardless of that without that effect that's what i do to this shot jerome um jeroen i think um so if we go before and after um there was our before there's after very small tweaks it's just a little white balance neutralization to get rid of this sort of cyan green um sort of tone um and just bring out some of the detail and all of that's been done by reduction in hdr highlights increasing some clarity which ironically the next layer then gets rid of um but there we go right uh so alan yeah there we go um so yeah very but more importantly um to allen's point worth playing around with it yes this is one way of doing it i've played with those sliders a little bit just to work out a way that works to my eye of getting the effect as i say it's not going to get you to 100 it can probably get you to sort of 80 but it's very flexible once you've got that layer in there and talking about flexibility um jim's point save as a style brush and have it any time absolutely so version 21. good point jim we'll cover it so i now have a layer here which is set to have a reduction in contrast increase in brightness blah blah blah all of that stuff great and a bit of hdr work and all this negative stuff be careful with style brushes remember that have a shadow tone in just be careful with that but we'll cover that in a second now what i can do is i can go up to my style brush here and say save that as a style brush or i can right click on the layer and save adjustments as a style brush so let's save it and we'll call it so first off we're going to choose which bits we want to include now in there is going to be our brush settings in terms of size but also the dehaze amount and the shadow tone i'm going to disable the shadow tone and just make a mental note of that so hit save let's have a little uh let's call it the rhorton um we'll go with that raw and effect i'm going to load up very quickly then uh marcel's image of a jetty so if we now want to apply that same effect without going through all those steps in version 21 i can go to my custom brush styles and we'll see in here that one rotten effect it's carried across my brush set up here and i can now paint it in and it's doing exactly what it did before the only difference is and again remember my dehaze i've removed the shadow tone that's left it as auto if i now need to correct that haze shadow tone that's the final step i need to do afterwards um christian it's it is an autumn effect orton it's just i'm not going to say that we've created it so we're going to call this one the rawton effect which is like the fake reefer orton effect but yeah it's orton orton um so there we go in in this setup but i can also of course go in with my same brush and i can now brush into this pier here to get the same sort of ethereal effect over there that's looking pretty nice so if i now do my before and after we go from there to there but remember if ever you include dehaze in a style brush remember that your shadow tone may need adjusting afterwards but the whole point of style brushes is absolutely that to jim's point um once you've done this once and set it up it's really easy to then redo it on other images because you just save those settings as a style brush and apply them whenever you're ready right um where are we couple things then so um you're playing around provide many um serendipitous and useful results absolutely so the first thing that i did with this was was play around with it um yesterday for you know five minutes just what do we need to tweak to try and get something that looks similar to the effect that we do elsewhere but playing around sometimes you end up with something completely different what you're expecting and it's better um where's next mario uh painting's a good idea from the mountains are separated from the foreground but from the middle of the wood where light is all around the scene yeah so there is a challenge with using a luma mask and actually it's it's the same challenge you'll have in something like photoshop when you're using it um screen mode in in the layers palette which is not every time are things separated by their brightness so it's very easy to say well we'll just apply it to the highlights well what happens if you've got one big highlight in the foreground then everything else is is a highlight but everything in between is dark well i don't want the effect on this lump as well as everything else out there so separating it by luma range can be a bit of a blunt tool painting it in arguably can give you a slightly better effect but that's up to you uh and barry yeah so michael did it was michael sure there we go did this effect with some slides that were sandwiched um one out of focus and one overexposed one stop and so on um yeah and blended and that's exactly what people are now effectively emulating copying whatever um within um photoshop and others um to try and get the same effect it it's a nice effect if you've got a sun or sunrise where you've got a tricky sun flare because the the light's been scattered by cloud and stuff like that sometimes softening up that area and giving it a glow can look really nice and that's what um this delivers so let's go back then to marcel's image this is a pier that's the edit that marcel sent in and this is our raw here so a few a few changes on the edit um but the question that came in was how do we get the c on this side to match the c on this side because this is nice and blue this bit isn't it's in part because of the reflections of light as you as you turn um at 16 millimeters this is quite a wide um setup so as the the lens um sees light from different angles it's going to reflect against the water differently so you've got effectively backlit light so light coming from over here somewhere um or off our shoulder um lighting this up quite nicely or illuminating that quite nicely but here it's more in between so you're getting reflection rather than color so how do we get color back into here and i think um marcel you'd said that you tried cloning you tried some stuff with uh color editor as well and and stuff like that um so i'm going to do this a slightly different way so let's go in fact we're going to start with your image there's not much else i would i would change in terms of this edit potentially having this bit in the foreground quite so bright is is maybe a little bit over the top um if i go to our foreground layer here um you've got this slight increase here in exposure i'm just going to back that off a little bit um just so i i do want some some darkness to fall towards the edge of the frame to a certain extent um i'm just going to double check that this is definitely straight along that horizon because i think it might be a little bit out but then we've got a weird thing here with this post being unstraight too so we've got a little bit um of keystoning potentially certainly vertical keystoning that we might want to just adjust and then we end up with our um our unfortunate weird line there we go so from here i've now got a challenge which is we've got some color here that we want to put down here for some reason um you've created this mask but i can't see any of the changes that have been used so i can't see anything in curves or color editor so i'm not sure what this mask is doing and when i turn the layer off and on it makes no difference so you've selected it using the luma range and a bit of painting by the look of it but i don't think we need to do that i don't think we need it the obvious thing that most people will go to in here that have used capture one for a while is actually the skin tone tool um so the skin tone tool it's called the skin tone tool it's not it's a uniformity tool it's designed to make things uniform so on on skin so effectively my my um my skin tone changes from here across to here um so i'd choose an area on this part of the the skin and say right make everything that's masked or that's similar the same sort of hue the same sort of saturation whatever to even out effectively skin that's got blemishes and color changes and pigment changes and so on if that's the look you're going for but we can also use it for the sky for example to even out the blue we can use it for the c to make everything look equal so the ideal world would be skin tone tool i'm going to choose a midpoint maybe along here that's in this blue area i'm going to say actually everything left and right along here soften out that smoothness the smoothness determines just like a luma range how softly the falloff happens from our desired color the top box in the skin tone tool decides what color we're aiming for so if i wanted to change that blue color a little bit which i don't but i might want to increase some saturation i might want to increase some lightness or decrease it and so on um and this here is only going to apply to the area that is masked to remember on this sea layer so because of that i'm actually going to clear this and manually paint in with a soft brush 100 100 and just paint in everything here that i might want to include in this c layer okay uh where was paula's now i just saw paul has just made a point uh there he's a custom uh sorry that was tom um it'd be so nice to have some sort of breakdown of edits when you selected layer yes so especially with style brushes coming along um it it would be good to be able to see um almost a hover over here that says this is everything that's happened on that layer i agree um it's not there yet but yes i would i would like that too especially when i'm trying to work out what people have done um so we now have a layer which is everything that's covered in red here on this mask remember there's still a luma range applied which has taken this out of it so i'm going to remove that luma range for some reason we've got something odd going on up there which i wasn't expecting i thought that was the luma range but it's not so it may be an auto mask element because for some reason auto mask has ended up automatically on don't want that um why has it stayed on that's weird so with auto mouse turned off let's just try and neaten that up a little bit and the positive is auto mouse got rid of the horizon issue but i don't want it for right now so there is our area that i do want to include in the skin tone uniformity and i can now say right well let's make the color of a hue the same across this whole thing let's make the saturation the same and let's make the lightness roughly the same not completely the same it's going to flatten everything too much but a little bit the same okay so it's tried to make the c more uniform so it's tried to take this mid color here and make this stuff on the left more like it this stuff on the right more like it and if i turn this off and on we can see yeah it has made this stuff over here more blue but it's also affected the left it's not really that i guess natural it's gone a bit too much but more importantly it hasn't really changed this significantly on the right it's changed the left more than the right um and in part because if i go onto our advanced tool here and click on this area here look at the color it's in so even though our eyes have been trained to think that this is green and blue and whatever because it's the c actually the color would disagree with you so as i go around the color picker we can see that this bit here yeah is on that curve it's going to be picked up by that arc this bit definitely will but all this stuff here it's on the other side of the color wheel so everything i'm doing in the skin tone tool completely pointless because i'm i'm making uniform anything that's in this cone not anything over here the only way of doing it effectively would be to wrap this all the way around and now yeah i get something that's more i guess more uniform of course but i'm going to have to draw such a clever mask because it's going to affect everything like this this pontoon stuff out here and i don't need to do that with this shot that's the funny thing with this so let's just completely reset our color editor back to nothing and i've got my mask here well i'm going to remove this mask let's just clear it completely with my brush tool i'm going to put my opacity down a little bit and a pretty soft brush and let's go on to our standard so the histogram tab that's our sort of home base for most edits or edits in capture one and with this layer here i'm going to just change reduce the kelvin the color balance the white balance and the tint down a little bit and start painting in now i'm going to turn the mask off so i don't see red so i see the actual effect of it but all i'm doing here is painting in a layer one layer at a time so one one twenty five percent of a time uh at each go and we're just going to softly feather that across here so i'm going to have more of it applied to the right of the image less of it applied over here so all we're doing is changing our white balance of this right hand side and i can do it more to there and now i have blue all around so it is that easy um in in this case so yes the temptation is to go straight to colour editor to start trying to play with things because our head says right it's the c let's try and make all of the c blue or green or that same sort of tone the trick is that actually what we were trying to change wasn't blue in the first place it was already on the other side of the color wheel and i go to the other side of the color wheel unfortunately this is now blue funnily enough but unfortunately when it was the other side of it so let's turn that layer off and pick we are now sorry we are now over on this side of it anything i do to make the blues and greens more uniform is never going to affect this part of the image because it was never in the blue or the green section of that color editor so instead of color editor reset all of that get rid of that um and instead we create a new c layer which has got a very very very soft edged mask and with that layer we're just going to change the white balance don't need to change the colors just change the white balance and if that's too much if this is now too blue looks a bit overdone that's what the opacity slider is for on this layer so we can pull it down to where it was before pull it up to 100 or we can probably end up naturally somewhere around about the middle that sort of works um mark that's just solved many problems um hopefully that's the plan of these sessions um honestly on this stuff um just sometimes just think about if the tool you're trying to use isn't working especially in skies and seas and stuff like that so you're choosing a color and trying to make it um more blue or more green or to be more blue and more green it's got to be blue or green to start with at least on that side of the wheel and if it's not anything you do in that color editor isn't going to make much of a difference without overdoing it and then it's going to look unnatural so consider white balance instead of color editor especially when it comes to skies and um and c's yeah and uh so paul dramatic c style brush maybe um we could actually if we really want to go for it i don't need a new layer let's just go to our um style brushes let's have a look at our dramatic sky or deep sky sorry um nice big brush and let's just apply it down here maybe i think it's probably a bit over the top i was probably overdone um but you know yeah maybe maybe there's a style brush to play with on the c um where was the question uh i just saw one sorry um anthony what is the dot in the color editor within the pie slice selected okay so the let's go to the color editor let's create a just a random new layer i'm going to choose now with the picker and say click there okay if i reduce our smoothness to zero you see this pie becomes very raw the slice of the pie becomes very very sharp what that means is in this color editor anything to the left and right of this line is absolutely removed um so it falls off a cliff so effectively if it's not within that hue range it's not included by increasing the smoothness it's a bit like feathering effectively you get this sort of that slice and a bit more okay the next part or the dynamic of this that dot is exactly where i picked the problem is with color if i pick an exact dot and start changing it you're gonna see literally one pixel change um because the pixels to the left and right of it might be slightly different more saturation more different hue different values different lightness and so on so what we've effectively got to think about is allowing for a cluster of a color so that's why the dot is there that tells me what i clicked on so i clicked on there or let's go for this green here or even this gray let's go to the other side um that's giving me where i clicked the wedge is the area around where i click that we're going to affect and it's done for safety more than anything as i get nearer into the middle of the circle less saturated as i get further out towards the rest of the circle more saturated so this would be everything that's heavy blue through to everything that's really really light blue to the point where it's almost white and then as i make it wider along here um that's going to change the hue values so now it's including some purples some cyans almost up to including some greens now everything from green to purple is included from 100 saturation to zero percent saturation but it's still telling me where i actually clicked to start with if i really wanted a really really really accurate wedge i'd have to pull this in like that whoops and in fact we have to do this a little carefully so we pull that all the way down here to the dot pull this all the way in there and pull this middle part all the way out now and if i turn that smoothness off it's very rare you're going to see something like this but that as a color editor will affect literally the color pixel that i chose so that that particular dot and if that color happens to apply somewhere else in the shot it's going to affect that too but you're gonna see some really weird results which is why the default for capture one is to give you a bit of breathing space either side hopefully that made sense um where are we uh tibi actually answered a question um earlier which is yes the selected color from the picker but there's a reason the dot doesn't match the the wedge and it's to make things look better um jeff i'm curious if you've had a play with these images before the live session or know which way to go um sometimes yes sometimes no so i will tell you now funnily enough the um orton effect ish i tried out actually on this shot of marcel's first um went in and loaded up jerome's shot just before we went live and realized actually this might be a better one to demonstrate it with um there are some shots that i haven't played with at all including the one that we're going to come up with in a minute for um claudio but um yes sometimes we'll we'll have a little play in terms of most importantly actually understanding what the person that sent it in has tried to do and what they haven't done and where we can try and help so hence in this one i knew that in marcel's image he had a c layer and i knew that it it was based on a loomer range and it wasn't using white balance which is why we couldn't get to that blue um so uh yeah so yeah derek just made a very very good point um and absolutely spot on um with this is why actually i backed away the um the opacity on this layer be really careful and we've talked about this on many sessions before um especially with anything with a reflection in because it's obvious um that's that's one thing um to be clear on but the sea is reflecting the quality and the color and the the brightness and the hue of light that's coming from the sky or from the sun um if we change this too much so let's maybe let's warm that up a little bit make it nice and nice and rosy this doesn't make sense how could this be the reflection of that sky up there so you are always entirely able to edit to your heart's content but just keep an eye and try and keep uh to a certain extent in sync with the source of light and the result of light so that they don't get too far apart if they're too far apart it's pretty obvious it's been um warped over the top right claudia's image um so um we've got two shots from claudia i'm going to start with this one we may pick up on the other shot um in another session but this shot from london um i don't know exactly where you were stood when you shot this um and actually so i'd again on to answer jeff's point previous um previously i haven't played with this yet um i can see a couple things that i will probably do and we'll talk through those but one thing that is standing out which sort of bugs me a little bit and i i don't know why um it's it's there um but it's above the moon um let me just show you so let's just zoom in this here these little lines across i'm hoping this comes out on the stream these lines are obviously little wisps of cloud or something in the in the air um happens normally um nice red moon by the way um but it's picked up these lines and that's going to reflect some of that light for sure but what i don't understand is this sort of tail um almost like the moon's being dropped into a like an alka-seltzer ad but with a moon so i i'm not too happy with that it may be completely natural it probably is completely natural this is the raw file um so i'm not disputing that that was what the camera saw but it feels uncomfortable to look at i just don't i don't get that little drop thing so we'll try and fix that um there are a couple things on here to consider while not necessarily fixing so unfortunately um tower bridge has often had these gaps in its lights along the the rails um almost you can actually date a picture of tower bridge based on which of the lights was out at the time that you shot it um some of them are natural they're just brakes in the the lighting setup some of them are where the bulbs have gone um you have a choice you can try and clone these in fact it's going to be very difficult to clone this in capture one but you can try and do it um but um generally on this stuff leave it as it is it the city was designed to be captured on that point in time and then that day if that day you had a couple of these things broken it's that's part of it that's part of shooting the city um claudia's online so moon popped up behind the clouds for 10 minutes maybe it's the cause maybe or maybe it's just vapor in the air or something like that i mean it's a it's a where are we 1.6 second shot so it's not it's not physically movement um it's nothing like that um barry's saying maybe a double exposure in the camera i'm not so sure because there's no shape to it it's as i say it's odd um this is this is weird however um it happened so we've got some debate to do um over what we're gonna do with it but let's start with the base image properties first so um i'm gonna go into our lens tab um we don't have the lens that claudia was using loaded in it hasn't sent in across any manufacturer profile information so that's fine we're gonna leave it as generic um i am going to tick chromatic aberration because especially if we're using a generic profile it's not going to do any of that stuff ticking that box is going to force capture one to analyze the whole image look for any aberration and try and correct it diffraction of this aperture shouldn't be an issue and i'm just going to go back into this bridge and have a look at what we can recover with highlights and whites so we're going to our exposure tab for this just so that we can always revert i'm going to create a new filled adjustment layer and do all of our adjustments on here so base adjustments um so let's see what we can do let's pull back our white pull back our highlights and do we get much back on the tower we get a little bit back obviously the bits that are completely overexposed of course will always be overexposed so we're never going to get them back completely but i'm looking at things like this building here which is a bit hot um you know we can we can get things like i'm zooming in really unfairly here don't worry but you see this window um frame here well we didn't have it so clearly before so even though it's not having a huge effect the effect it is having is positive so i'll leave that on so highlights and whites pull them all the way back we're going to push up shadows not black so if i push up the black channel or the black tones in here what we're going to end up with is a very flattened image you can see it starts to look you know we use the phrase quite a lot but it starts to look cartoony um we don't want to do that because what that's doing is effectively just pushing up the darkest five percent of our histogram into the lower midtones instead it's much more natural to pull up all of the shadows together and then if that doesn't pull up enough then you use a tiny bit of black pull just to bring up that very bottom part of the underexposed histogram only but this now looks much more natural than just trying to pull up that black slider and try and make everything um flattened i am going to apply quite a bit of clarity probably more than i normally would but that's because i want to get the um the structures in here really really popping so if i do a hold down the option key or the alt key on your keyboard and press on the reset button while holding it down you can temporarily reset any tool so that's before that's after so you see that sort of pop that we get as a result of that clarity boost maybe we want to use a little bit of structure not too much but just to bring out some of the sharpness in here especially when it was shot at night there's no haze to worry about so we're not gonna worry about trying to do um anything with um dehaze where are we question uh prasad uh how about using a linear response curve to recover details from the blown highlight yes in some cases um in this case i fear we'll do it that in using linear response you're not actually going to recover the highlight when something is when we have a very very stretched histogram so in other words really really really high peaks in the highlights and high peaks in the shadows linear response has the effect of well sorry let me correct that the auto curve which is basically film standard has an s curve built into it so if something's already bright in the highlights it's going to brighten it more if something's already dark in the shadows it's going to darken it more so if you've got that sort of u-shape histogram the auto curve is going to push it even more even more contrast it's going to push some of those things to be overexposed in this case here we do have a bit of a u curve but most of these highlights are actually already off the end of that histogram so linear response won't apply that s curve to it but it's not actually going to recover much either because the stuff that it it's able to pull back is already outside of the um outside of the 255. um tom's just said painting in the mask this is the step i keep missing when i use the skin uniformity tool to edit colors yeah yeah so um when you're remember the mask and the color editor are two separate things it's why you can create a mask from a color range it's why the color editor has that function where we can go onto whatever we've chosen and say create a mask layer from selection the mask and color editor are independent but they can link together so the color editor is editing the colors and this applies to the skin tone tool too that are within the area you have masked so just don't don't forget you kind of need both um to apply um so um rudy's just said how about the noise in low light in this case here honestly is iso 200 it's pretty clean um i'm not too worried about the um the noise level in here i mean here we are at 100 on your screen i'm not seeing much there's an issue if we were um let's just remember as well when you're editing for noise always do it at 100 never further out um go to your background layer which is where most of the noise reduction is you could put a touch more noise reduction on there if you wanted to but at the risk of losing some detail so don't push it too far um maybe a bit more would help but this is this is pretty clean so far okay so that's our our sort of light levels um sorted so we've got as much of the highlights back as we possibly could as much of the shadows lifted where they still look um reasonable now we're going to start playing with white balance you've got to be careful with this because believe it or not tower bridge um from this angle can look quite green which is how it's coming across at the moment um so trying to find a neutral part of the image is actually very very difficult this ship here should be in theory battleship gray so let's try and click it yep and you'll see actually the image gets even greener so this is one where i want to be really careful there's a differentiation between what's absolutely accurate for this white balance at this moment in time on this night and what looks pleasing and in this case it just feels a bit too green so i'm actually going to cool down the image and shift that green not that cool but shift the green away from the green using the tint just to get this feeling more neutral so even though it may not be literal gray as i move my mouse over here it's going to give me these numbers at the top oh no it's not because i got rid of that um [Applause] sorry about that um you guys haven't been able to see the um the rgb numbers so as i move my cursor around you will see that we've got the um the numbers along here and if they all match then it's gray or it's on the gray scale if one number is slightly more than the other so you can see in this case it's slightly green slightly more blue than red so there's a shift to the color but to my eyes it just feels a bit more neutral than what it was before this just feels a bit more muddy a bit murkier this just feels a bit more crisp so that's the reason i've done it it doesn't mean that it was wrong in the first place it's just it feels better um to my eye um if we try and straighten this now now remember that bridges like tower bridge aren't actually straight they have a slight hump um so if we try and do that that's actually going to work in this case if it didn't then it might have been worth looking at the keystone tool instead but now we're in a much straighter um position great i might then change this to be a two by three aspect ratio the reason being nothing down here is helping me so this is taken on olympus which is at four thirds um this here gives me probably a a more um full shot let's call it that without some of the stuff down the bottom to worry about because it's not adding anything to the frame then let's look at this moon so here we go jeff to your to your point um my worry is that we might get this wrong but it doesn't matter we're all on there so let's create a new empty layer um in fact we're not going to do that i'm going to create a new clone layer and we're going to call it moon we're not going to use the heel brush the reason we're not is because the healing brush is going to try and blend everything in and i'll show you actually why so let's create a new healing layer so that the band-aid tool at the top make sure this is set to 100 opacity nice and smooth a little smaller than that and let's choose so hold down the option key if you don't do choose it manually capture one's going to guess for you in this case i'm going to say i want this sky and i want to paint it over here that's done an okay job of that i guess but look at what happens i've gone over the moon intentionally to be fair um but it's tried to blend so you can see here even though this layer has got rid of this distinctive area here what it's done is it's effectively spread it out because it's the healing brush is designed to take what's around it and smooth in from its origin content into what was there on the destination i don't want it smoothed in i want it completely replaced which is what the clone tools for so just because we have a heal tool doesn't mean the clone tool is now irrelevant i'm going to set the opacity quite low on this one i'll show you why and size relatively big and i'm going to again choose my source option key or alt key click there choose my destination and start painting and i'm going to go over the moon there's a quote but it doesn't matter i'm just painting painting painting until we've got rid of all of that orange now i've gone too far so let's go to my eraser a bit bigger here 100 opacity and erase that part of the clone so it's done an okay job i'm going to go back to my clone tool again and choose another bit from here and just clone across there just to smooth that in but what about the moon well it's not done a great job there has it because i've gone over it i've got two choices i can try and create a very very very accurate mask um in fact no what am i saying we've only got one choice because we can't interesting fact we can't apply a luma range to a clone layer so my trick was going to be we'll do all that and then we'll apply the luma range and remove the um the moon from it using that range proof that we do stuff live um just realize we can't do that so instead mask go to our brush tool make it quite a hard edge not completely 100 pull down our size down to there and oops sorry sorry my eraser better um pull down our size and we're just going to erase our clone out of here so we don't affect that moon but you'll see this is a much cleaner result than trying to use the healing brush this is where we've got to get really really really picky um to make this natural so i wish we didn't have that little weird egg drop thing that had happened on this shot but we do so we'll use this to fix it now i've actually got auto mask enabled on here which means as i go over the edges capture one is quite handily neatening them up if i want to do it completely manually just take the um the auto mask off of the brush setting on the layer so if i go to my brush setting we've got auto mask on that's also applying to the eraser on the layer so back to my eraser and just finish that let's turn off our mask come zoom out there we go that looks quite clean so we go from there with our drop to there nice and neat and clean um a lot better so yeah and claudia's just mentioned so um to give you some context the the moon is surrounded by clouds i i can't explain what it is but i know that it it's not a it's not an error it's it's what the camera saw um i'm just i've just never seen it do that before in that sort of drop and this is why i'm saying um it's your choice as to whether to get rid of it or not if you do though don't use the healing brush use the clone tool and erase out um the rest of that um that moon um right so let's uh carry on so from here um again we've got another thing here so this is interesting this is just the reflection of the fact that we don't have any lights here but it's quite distracting in the shot so in this shot here i'm just going to again use my clone tool we're not going to use the moon layer we're going to create a new clone layer and call it um water reflection i know it's a clone layer because of this little icon here on the side so water reflection there and i'm just going to paint that in now if i think that that's going to look a bit too fake let's call it that um we can back off our opacity so i'm going to come in at probably about there just to take the edge off of it so i don't think that it's a dust spot or something on the lens so it's nice and clean then actually this is a weird one to do it on but i am going to create a new empty layer with a radial mask around our ship nice and soft so pull that radial mask in into there and with that mask set i'm going to go back to my base adjustments and lift up brightness for the image and onto my let's call this radial mask onto our radial mask now just pull down that exposure a touch so exposure's allowing me to actually under expose the black elements the image as well and that's it that's probably where i'd end up with this one claudio um so let's just go before and after so we go from there a little bit murky a little bit muddy a little bit flat to here it's much more poppy um we've tidied up the moon it's your choice whether you want to leave the moon tidied up that's that's your call um but that's probably where i'd leave this um rather than um in in that place to begin with okay so that's it i think for today that's our lot for today um hopefully you guys have got what you wanted out of that session so we've got this one here quickly with the um with a moon fix uh marcel's jetty which has got the evening out of the um the water from the left to the right hand side not using the color editor you use the white balance tool in that case and drowns um snow shot but also where we've got an autumn-ish effect that you can use in capture one remember for those of you that want to copy it these are the rough settings you want to be aiming to use once you've done that you can always right click save as a style brush and then paint it in as we did on there to your heart's content between now and next week so we'll see you next time next week for those of you that want to join again um it'll be again thursday three o'clock uk time so whatever time that is where you are in the meantime um join in on that facebook group that's where for instance alan asked how do we do the the ordin thing so that's what happened um so joining on there um everyone's welcome um and we've got also those 20-minute youtube sessions which are covering each individual tool um so things like masks and ranges and brightness tools versus exposure and so on between now and next week if you want your image to be um on the screen and played with then go to paulieforlive.wetransfer.com upload your image you have to agree that we can edit it obviously but also include your name so i know who um is sending in the image and who we're talking about um and then hopefully we'll try and get you on either next time or time after um and so on as we're as we're working through but between now and then um stay looking after yourselves all around the world hopefully and we'll catch you in a week's time cheers everyone bye you

Channel: Paul Reiffer

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Keywords: Capture One, Capture, One, Post Processing, Editing, Phase One, Capture One Pro, Live, Examples, Training, Learn, Lessons, RAW, Photo Editing, How To, Guide, License, Variants, Clarity, Tools, Graduated, Masks, Natural, Histogram, Processing, Gradient, Support, Q&A, Edit, Adjustments, Contrast, Color, Software, Exposure, 21, Landscape, Curve, Mask, Luma Range, Style Brushes, Custom, Style, Brush, Update, Upgrade, Layers, 21.1, 14.1, Luma, Range, Healing, Clone, Heal, Storm, Clouds, Colour, Filters, Orton, Orton Effect, Skin Tone, Tool

Id: kQOrkVLWuj8

Length: 62min 26sec (3746 seconds)

Published: Thu May 13 2021