Live Editing Sessions - Capture One 14th September 2021

hello everyone i is tuesday it's not thursday i know that has confused lots of people including paula sorry um if you've ended up let me just move that so we don't get in the way of application stuff but sorry if you started drinking too much paula my fault i'll take that one on the chin um anyway yes it's tuesday rather than thursday so we had a bit of a hiccup last week either way uh we're back and we're gonna spend the next hour going through capture one so that stuff up there that i always point to um raw editing software whether you know about it or not um is gonna depend on whether you find the next hour interesting or not but essentially software that takes your raw data out of your camera and hopefully improves it and some people have some challenges doing that so we're gonna spend the next hour going through that software and editing it together before we get going i am going to cover one thing which i had to hurriedly create um just now which is that so for those of you that know david grover he and i are going to be perched on a random cliff top somewhere uh on the 19th of october there's there are so many things that will go wrong with this so what we're going to try and do is live stream from the edge of the coast at sunset with the perfect sunset with my camera gear tethered to capture one live in the field and edit there and then and broadcast the whole thing all in one go and it's going to be completely seamless and it's going to go perfectly of course but if it doesn't then you'll find us in a pub pretty quickly afterwards but for those of you that want to tune in 19th of october um it'll be live streamed and we'll hopefully be able to show the whole process from capturing and actually things like using filters when we need to um into capture one editing capture one and producer final result all live um and it'll all go swimmingly that'll be good right so for today bearing that in mind there's a bit of a challenge there for david um we're going to run through capture one version 21 so capture one pro 21 capture one insert your manufacturer here version 21 it doesn't really matter um this version is the latest version if you go to your about screen you'll find it's 14.3.1 that should be your latest version if you're on capture 121. if you're not on capture 121 then you may be on version 20 maybe on version 12 or so on update to the latest one version 20 you'll be able to follow along most of what we're doing today just fine um version 12 and before you may find some gaps in what we're showing you that's okay it's just your decision as to whether or not you want to upgrade if you haven't got capture one don't know what i'm talking about haven't seen the software before then go to captureone.com you can download a free trial 30 days um with no restrictions um and literally play with or play with your heart's content hopefully you'll be able to follow along for today we're gonna try and make this as interactive as possible so please while i'm editing put in your comments put in um things that you agree with don't agree with doesn't really matter um we'll take them all and hopefully we'll try and edit stuff together um keith or oh no see i moved it in the wrong place i should have left it where it was um but yes uh the live stream in october there's nothing that can go wrong with that i'm sure but we'll see it could it could be epic and we'll stick with it um but if it's not then well we tried so in the meantime let's go into capture one and we're gonna start with dj's image of the hills which is where we left off last week so dj sent a note in because um he sent in two edits and and to be honest dj i'm not sure which one is the correct one that you talked about and which one is the not correct one but in in terms of what edits have been done to this shot so in order to see before and after i'm going to press the y key on my keyboard and that's going to bring up this little slider or i can go to the before and after thing at the top up here so there's our before shot straight out of camera the raw version of it with a couple of things and we'll talk about them in a second and here's our edited shot that dj's already run through that shot has got on it two layers and a background set of adjustments and in these adjustments we can see what dj's already done so some shadow lifting some some white so the very brightest parts of the the histogram and highlights have been brought down and recovered quite a lot and quite a bit of dehaze as well on top of that but on this version here everything looks okay i mean it looks sort of in tune with each other and and so on when i go to this version which is the second one this has a lot more layers so we've got things like uh foreground layer so i'm going to press m on my keyboard to make a mask appear uh and i thought i did unless that mask has been no it's there there we go these little red bits that was difficult to see so m makes the mask go away and m will make the mask reappear um so let's choose a bigger mask instead just so you can see that we'll go to our dust spots so these are the spots that dj has corrected so m on the keyboard mouse goes away m on the keyboard mask appears again and i can see on here we've got a color balance layer across the whole image so if i go into our color balance tool there's a bit of an adjustment here so we've moved the highlights to be cooler the mid tones to be a little bit more pink and the shadows to be more in the green sort of area so adjusting the colors out of the image and we've got this overall color there but more importantly let me find it we've got a sky layer and if i press m on the keyboard to see that mask actually it's not necessarily a sky layer because not only has it got the sky it's also got quite a lot of this other stuff in here as well and some of the mountains here as well now why is that important well it's important because what dj was talking about was the fact that we've got some um potential haloing around the um around the hills that comes from potentially i mean i've double checked this and it is um when you overdo this high dynamic range stuff in an area with a big border a big contrast border between light and dark and we covered this i think a couple weeks ago but if we think about what actually happens when we're doing the clarity tool and the contrast sorry clarity the clarity tool and the high dynamic range tools what they're doing is they're pushing down and raising up certain tones so whenever you use the hdr tools or the clarity tools look at the borders between the dark and the light areas to see if you've overdone it and if i look in here you can see what's happened in order to recover some of these highlights we've ended up with these sort of halos around here now we're at 100 here i'm going to be really unfair but in a way that actually shows you more of the image so hopefully zoomed in there at 300 percent we can see this sort of glow that starts to happen in the sky and if i undo the high dynamic range tool temporarily so to undo any tool just hold down the option key or the alt key on your keyboard and then click and hold so we can see there wasn't really a halo there and what's happened is as a result of pulling back those highlights and pulling back the white to get the information in the sky so to get all of this detail back unfortunately it's also found a problem at these these borders because effectively what happens is capture one looks at the border and tries to blend that adjustment in so it's it remember the clarity to oh sorry keep saying clarity remember the hdr tool isn't necessarily just binary so when we say highlights it's not a case of if you're this number to this number on our histogram so imagine up here on our histogram it's not saying everything from let's say 200 to 250 is a highlight and if it's not then remove it it's ramped so it still affects everything beyond 200 so down to 199 198 197 and so on just a lesser extent so it's still going to recover and effectively darken those bits that were already starting to get dark and away from the highlights area and what can happen and it happens with clarity and with hdr is that you end up with these halos that can appear on the dark and light side of any contrast joint and that's if it's overdone now if i look at the other version of this image that dj sent in we don't have that and one of the reasons is because it doesn't have this big highlight shift this minus 50 in this version and it doesn't have quite the same impact on the sky now the downside to it is obviously what you had up here with all this detail in this one and this sort of vivid texture in the sky we don't necessarily have in this version so because all the adjustments and all the changes have happened in this version which has got all the dust corrections and so on instead of starting from here which would be my natural view we'd start from here and we're just going to calm it down a little bit to get rid of that halo and maybe even use a different trick to try and get some of this detail out so the first thing is let's just reduce in the sky layer here so this sky which is this mask here everything in red and i'm just going to reduce this highlight correction and reduce our white correction just to get back to here and then what i'm looking at is where is this green coming from and i'm wondering whether some of that is out of the dehaze tool uh in our base or more likely in the color editor so let's just have a look at our color yeah color balance is doing some of that color is doing that as well a little bit we're pushing maybe too much um as you start to stretch those colors in those color wheels if you push them too far you can end up with this which is some of this sort of artifact um effect around here it's effectively flattening the tones it's where those tones look up here are peaking and it could also be somewhere in levels although that doesn't seem to have been hit too much oh no there we go in our background so what's happened is these flattened areas here if ever you see this it's either way you've stretched one particular channel too far in curves color balance whatever or you're clipping one particular channel through your levels so we're going to undo this levels and undo the shadows there we go we get a bit more calm back to back to normal as it were and more importantly in here we don't have this halo around these trees and everything and in part that's also because we reduced this impact of the hdr here now it doesn't mean we can't use hdr and it doesn't mean we can't get the detail back what we're going to do i'm just going to clone this so we can have a different version what we're going to do is actually use one of the tools that's in 21 which is the style brushes and we're going to use deep sky now traditionally we'd use this just on the sky but with the style brushes remember i don't have to create a layer for it if i haven't used one already of deep sky i can go back in or i can go into the the deep sky brush to begin with and it will start brushing on a brand new layer called deep sky or it can go back into the brush and it will automatically go back to the deep sky layer to keep adding to it now that deep sky is going to give me a certain brush that was built into the the brush size i can increase it or decrease if i want and just for fun i'm going to have just a massive great big paint all over this shot and it kind of works it kind of brings back some of that detail without going overboard now i'm looking up here and seeing there's a little bit of haloing and actually it's kind of overdone a little bit so because this is on a separate layer i can go back to my opacity up here and i can reduce it down or even better remember this is a mask so i've painted that mask but i can overwrite that mask as well i can say actually i do want it just to have the biggest effect up the top so 100 up here with my gradient layer on the left hand side 100 in the sky 50 by here and then nothing down by here and what we'll see is that effect of getting the sky to light up a little bit get some more detail and texture in it without creating halos around the the background dj's on okay so i forgot the in fact all edits are having on levels yeah so in other edits you'll see me do this quite often i'll do the levels at the end and the reason is because i'll put them on a separate layer at the top the top or the very top of the stack the issue is let's just demonstrate here in my background let's say i've got a level here which is uh where are we two three nine so that's not clipping anywhere let's just turn my exposure warning on nope nothing all good so with my exposure warning set i can see there's nothing clipping in there if i were to pull the levels too much in fact that's weird why are we getting why aren't we getting any exposure warning oh we're not 255 randomly um still kind of weird though we should be getting some exposure warning anyway let's turn that off because that's that's there's something going wrong there but at 239 look we're we're pretty good there's nothing major going on there's nothing really clipping now imagine i forget that i did that on my background so i go to another layer let's go to our deep sky layer that we just drew and with deep sky i'm going to pull up our exposure well i haven't pulled it up too much but now we're getting that clipping stuff going on we're getting those weird artifacts and shapes and patterns and stuff where certain areas have just flatlined they've gone above 255. so with that i then think well what have i done is it about my exposure here is it about what whatever and that layer forgetting that back in my background i've made this fundamental change here for levels because if i hadn't touched that level and did the same on my exposure it's not clipping so just be careful and it's one of the reasons i would always recommend putting a separate layer that says whether it's levels or base changes or whatever you want to call it but something that's separate so you've got a visual clue that says there is a change here rather than it being buried in the background the problem with burying it in the background is it's easy to forget on subsequent layers that you've already made quite a significant change to and actually levels is a big change you're changing the entire histogram structure in there okay um let's just have a look so that exposure little tool um issue i'm guessing has just prompted mr grover um to say um we'll see um we'll talk about that in a minute um so [Music] i've just seen andrew's thing nothing wrong with running that so we're back to live so yes we will try and edit from the bar um if anything goes completely wrong we'll see what uh see what we can get away with and hopefully not too many people tune in if that's the case right uh michael the shifting sharpness from the trees on top of the hill downwards is a little disturbing as the front tree is sharp again yeah so this here is sharp this is what i think michael's referring to so this tree here just zoom into here nice and sharp then we've got some sharpness that's going on out here and then it sort of fades out into here to my eye it's still level it is still it's still layers it's still correct in that sense but if that is the case and it's coming potentially from our sharpness on this sky layer no there's no extra in there actually what i'd wondered whether dj had um added in some sharpness on there but i don't think so i think it's genuinely just the different layers of sharpness that go off into this image but this is sort of where i'd get to potentially you could push the sky a little bit hotter if you wanted to um whether it's with that deep sky layer or whether it's with something else but if we really wanted to push it we could enhance that brightness but again just remember we've spent all this time trying to pull back the highlights so recover them um you know that minus 50 sort of thing up here and then on top of that we then pull up brightness so we're shifting highlights back and recovering them and then we're pulling our brightness up the other way so just be careful with that see-sawing that you're not undoing what you've just done with the other but this to me is a lot cleaner than where we were in the room in fact this isn't even the original here um personally i prefer the warmth in this shot than this one this just feels a bit cold maybe we need to keep the sky that color and maybe we need to do the warmth down below so i'm just going to go and create a new layer called warm gradient layer so from bottom to top and i actually want to remove any part of the sky out of this so we're going to use our luma range to do that so i've got a gradient and now i'm going to say the gradient is fine but remove anything that's too bright out of this nice soft fall off and with that i'm just gonna separately warm up our foreground where are we not too much so we don't want to go up to there it just looks a bit wrong but we can stretch it quite a bit could even pull up that tint a little bit away from green so that's just going to give us the the idea of warming up that ground while keeping the sky blue if you do it across the whole image that sky is going to go a little bit sort of washed out and you can see it in the original here you get some sort of green yellow tones in the cloud which doesn't really work so we want to keep the sky blue and clean and and on a gray scale rather than colored clouds but while keeping the the foreground and the the ground part of it nice and warm okay um pamela says the white set is clipping color i don't think it is let's just double check um so in preferences if ever you have an exposure warning set um it should be set to normally pink but yes arguably if you'd set that to white you wouldn't be able to see the clipping but no unfortunately something very weird um with that so we'll try and work out what's going on with that in a bit but that's where i get to dj it's the haloing just be careful of those those hdr layers and those clarity layers especially when they hit a border um just don't overdo it because you're going to see that and it's going to give you the impression of glowing um behind but yeah that's that's sort of where i'll be and just again remember if you're going to edit levels on the background layer just like this don't forget you've done it because it's very easy to then end up with you know one two three four five layers on top you're making changes all the time and you forget that you've got an underlying levels change at the bottom different people have different workflows personally i would well i do but i would always do the levels bit last and the reason is because i want to make sure that after i've made my edits to detail and sharpness and clarity and color and everything like that then i'm making the decision as to what's going to be 255 and what's going to be zero in that histogram i may choose after all those changes to reduce contrast to squash it into the middle and i can do that last i might also decide to increase contrast and stretch the histogram but again doing that last means that i'm not affecting anything else other than that stretching of histogram backwards and forwards okay um where are we let's have a look next shot jerry uh so jerry sent these two shots in um and there's a couple of um a couple of i guess queries on it um that jerry sent in so number one um they edited okay i guess number two in terms of how they feel and and crop and so on um and again i'm just going to be in a place of this is personal opinion rather than um fact there's no rule in here that says what i'm about to say is correct however i always feel uncomfortable looking at a shot when this subject in the shot is looking out of the frame so what i mean by that is these painters all this shot does to me is make me want to know what's over here on the right i want to know what's what's over here um and without knowing what's over there i feel kind of incomplete in terms of that shot i can see a lot of this stuff over here and there's kind of i don't know there's a bit of me that wants to sort of pick him up and turn him around and say look the yellow stuff's over there um but maybe that's just my head working a little bit weird but to me they need some negative space out onto the right whether it's of what they're painting or whether it's just room to breathe um but with them framed to the right of the frame this color here is great but it just feels a little like he's he's facing the wrong way sort of thing i sort of feel that he's missing um the left it could have been there's something awesome um to the right of the picture that he was painting but i'll never know because um we're cropped to the right and if i look at our crop we don't have much room to move it out to the right that said again that's personal choice it's just literally my my take on it rather than anything else but um let's have a look at a couple of other things in here so here there's something weird going on it actually took me a second to work out what it is there's a heel there in this shot let me turn on the mask and if i do a before and after we see some signs and some traffic going by and so on so jerry's already done the healing out here and fix some of this stuff in the bushes looks okay i mean it you can if you really pushed it you could see that it's healed so we might want to choose where those origins come from but the bigger issue is this sign because it's not normal for a tree to fade out into the sky so this is just about the masking and with masking on healing you have to be precise so to me this is coming from the fact that the healing brush unfortunately is probably guessing stuff a little bit wrong um and it's getting it um a little bit uh it's getting a little bit carried away let's put it that way so in here i'm going to go to my mask with our healing brush and i'm going to use the eraser on that mask set our size to be a little bit smaller 100 opacity 100 flow because i don't want any soft edge and i'm literally going to remove as much of this mask as i can without hitting the sign the reason being because i want to keep the tree it doesn't make sense that we've we've got a fading tree we can deal with that stuff in a different way if necessary the rest of the masking actually is kind of okay it's done a decent enough job down here with a little corner of this sign in here that it didn't quite get and the reason is the mask isn't 100 so we're going to make sure these are at 100 and add to the mask in here and we can also see there's a little bit of sky up here that doesn't make sense and this join so a lot of this again it comes down to origin and what we can do with this mask is move the origin so a lot of people have forgotten that you can do this now there's an awful lot of power in the healing brush now in that it automatically chooses its source but if you don't like where it's chosen remember you can still move it so we can still pick up where you want the source to come from and in this case i need to blend that border at the edge so that we don't see the join so much so moving it in maybe maybe even to here there we go now you see that edge along the top here is now running nice and smooth all the way across it's done a better job of it so don't just take whatever the healing brush gives you same with these bits here for this traffic you know if we want some variety in it remember we can use other bits of our image as source points to really clean things up so and part of this is make sure you've got some randomness in there don't get the same patterns repeating if you're trying to cover something so with healing brush absolutely use the funnily enough the old power of the healing brush you used to have to set your origin yourself it now does it automatically but you can still edit it and don't forget that now up here we've still got a couple of little issues so let's just go on to our healing brush again because i need to add in this top corner at a hundred percent now it's going to decide annoyingly that that comes from a different place but i can again grab that and say no i want you to come from there and try and heal that in now we've still got a problem so it doesn't stop us adding in a cloning mask as well so i can go to a new cloning mask here i can start cloning or i can create a new clone layer just above our healing layer that's just for neatness and with our clone layer i'm going to come along on top of the heel layer remember and i have to choose an origin on a clone layer in fact let's uh choose there and paint into here and all we're doing is just blending this tree so it doesn't just stop in the middle of nowhere now that's 100 clone if we want to now smooth it in well what we're going to do is add in some more clone but at a lower opacity and that lower opacity is now going to allow me to smooth oops sorry picked up the sign that was silly so we're going to choose from there but to smooth in some of this stuff so we're literally building like a layered cake we've got a heel layer underneath and then on top of that we've got a clone layer at 100 to build this tree back and then a clone layer at 50 which sort of smooths in so the extra bits that i'm painting in now or 30 even are not 100 so we're adding in little bits of extra clone just to blend in what i've painted so that we don't see those lines of different colors and that's really important if you want this to look genuine so keep that in mind a don't have trees that randomly disappear off into the sky which comes from masking get your masks accurate b when you decide you need to heal something into place don't just take what capture one tells you if it does a good job and it chooses the origin correctly then great stick with it it does a good job in general probably eighty percent of the time i'll leave it where it is but for the times when it doesn't quite get it the times when like on that line of um i guess it's rapeseed or something um when that line doesn't match up it's because it's guessed wrong for you so you can override it you can move the origin and on the clone tool remember you can use clone and heal one on top of the other to smooth stuff in you can you can blend in that sky into the tree you can add in 100 of the tree so that we don't have the disappearing tree over the top so you can do all of that stuff just remember that both of them actually good question good question dj does the order of layers matter it actually doesn't too much for the for a different reason to what you're going to expect the clone layer and the heel layer will always go back to the raw data so again we've covered this a while back but just as a bit of a refresher if i heal an area in fact let's just show you just in case people haven't seen this before i'm going to reset all of this picture to what it was before okay i'm going to create a new heel there and we are gonna heal out with a hundred percent our sign okay and it's chosen an origin and you know we've just said we would probably move it but let's say we're fine with it okay our sign is now gone now i'm going to use a stamp layer and i'm going to choose some of this happy sky here great as my origin and i'm going to paint some of this guy up here what's happening where's the sky gone the reason it's doing this is because both the heel layer and the clone layer will always go back to raw data your clone tool does not care that you've removed the sign it's not taking the result of the heal it's taking the raw data and cloning it elsewhere so to answer your question tj does the order of layers matter not really because both clone and heal are going back to the raw data they ignore what each other has done so it's not like it's compound it's not like you're taking the healed data and then cloning it elsewhere it's always going back to what the camera actually took and this is where people get a bit hung up on this and confused so you have to bear in mind it doesn't matter what i do layer on layer on layer i'm always going back to the background effectively to get my source data to paint in okay uh let's have let's go back to our one here because vincent's just said uh clone the other artist out oops sorry where are we clone the other artist out so that we can see more let's just have a little look clone the second artist out potentially yeah it's not a it's not a bad call i'm pretty sure that artist is not going to be too happy about it but let's create a new healing layer and you don't have to you can do this all on one layer but um i want it on a separate layer just for neatness in my own head smaller brush is probably going to guess this wrong unfortunately but let's have a little look make sure we're at 100 and we're going to paint out this artist here i turn my mask off so we can't see the red but it'll hopefully work that out there's my mask and that was stupid of me so did it on the wrong type of layer so new heel there and we're gonna use the healing brush instead of the uh the normal brush there we go and let's paint the artist out i think we're not going to have enough raw data to origin this correctly if i'm looking around to see if there's a spare space that's similar and this is where capture one's gonna struggle because oh maybe maybe maybe just into there a little bit of a book and a knee but i can probably fix that with a clone it's not bad maybe that helps us not a bad call actually vincent um so normally i wouldn't suggest that but actually it does give us some extra space on the right and again going back to what i was saying earlier about the clone and heal so we can now do another in fact we can go back to our other clone layer if we want to but remember we're going back to the raw data and we're choosing this just set it to 100 opacity and we're choosing this stuff out here if i choose my origin anywhere here where i've already cloned you can imagine what it's going to do because it's going to paint stuff that was in the raw data which was the artist not the uh not the result with my stamp tool again and oops let's just choose a bit more of that and paint into there oh of course our heel there our heel layer is on top so of course the heel layer then tries to heal what i've just cloned there we go that's better so clone layer on top um just to clean that up now whether we prefer it with one artist or two entirely up to you your call um magic disappearing artist but there we go um but just you know for me this framing needed to be a little bit to the right i don't know if there was a reason why um and maybe there wasn't stuff to the right but that would be it to that point same with this one i understand why we want the rock in there in terms of situ but again for me there's nothing wrong with the cloning and stuff that's on this shot it's just the crop that i personally his personal choice would change to something more aligned with this and possibly even lose that branch out of the right hand side but to me that just feels more comfortable than this version here this one on the right is about the artist in the field this one on the left is about where the artist is so it's more about the place with that place mark that's entirely your call what the what the subject of your picture was i can't tell um i wasn't there to click it but yeah it's um that to me would be more about the painter and then of course we could um clone and heal this stuff out ah jerry's on um what was to the right was the road and cows yeah and this is why i'm saying i not there i don't know um what was um what was stopping that sort of right-hand turn but you know maybe it's maybe maybe the deletion of the artist works but keeping it there isn't a problem if that's what you wanted in that shot then great but just be careful that we don't have um the issue with the weird well that was my version but the issue with the weird tree use the clone and stamp tools and and all the healing brush stuff with the manual overrides when you need to um that's the key bit for me so the heel brush does a great job so does the stamp brush but both of them can be tweaked manually to do an even better job if you want them to right on to john's shot of the milky way now there's a there's a couple things with this and and some of them are a bit more obvious than others um i'm not sure where this was actually but um anyway milky way shot we we cover these every now and then and there's a couple of things we're going to do sort of a standard with it i'm not sure whether the preference was to have the one with the person in it or the one without to me there's a little too much cropped off the bottom of this this frame it's looking a bit too much up which means the context feels a little bit too tight towards the edge i'd want a bit more breathing space at the bottom and it's one thing with the milky way you've kind of got to make a choice when you're shooting this stuff you're either shooting literally the milky way in which case fill the frame with the milky way but that's more of a sort of um approach than than it is a landscape approach if you do have foreground then use it great so this one's probably a better one for foreground just be careful with here and obviously this is 30 seconds handy hint humans cannot stay still for 30 seconds even breathing will do this so you have to kind of accept that you're going to get some issues when it comes to anyone sat in your frame especially when they're close to the camera when you're trying to expose for a long time for the stars now i'm hoping you guys can see this on the screen but if not i'm going to really zoom in so you can and you're going to see a blue dot a red dot a blue dot another red dot there's a green dot there and you're also going to see noise now these are things that you need to separate out when you're analyzing a picture noise is noise and we'll cover that in a second so we cannot fix noise that's embedded into the frame we can we can hide it we can mask it there are noise reduction tools but if it's noisy it's noisy um that's generally gonna be something that we can't do much about but these bits if you ever see a red pixel a blue pixel or a green pixel on its own or a little cluster of them they're hot pixels that's where one of the pixels out of the several million you have in your camera has effectively got overheated and sent back a 255 reading back to the camera this is normal so i know people that tried to send a camera back because it's got a hot pixel stuck on it the hotter your camera gets the in in terms of environment but also in terms of the sensor and that's in part then the longer your exposure and the higher iso and all that stuff that combines against us at night will result in more hot pixels hot pixels can be fixed by the camera by doing something called a dark curtain so it'll take a second shot for the same amount of time with the shutter closed and it'll then effectively work out where all those hot pixels are and delete them out of the first frame if it hasn't done that or that hasn't been effective you have a function in capture one to fix it which is under your details tab go to your background and you'll see in here single pixel now the temptation that i see a lot of people do is switch that to the right so that all the single pixels go away great well that's also done though is affected our stars because guess what some of these stars will appear to capture one as a single pixel so we've got to be careful that we don't overdo it what we need to do is use this slider to the point where the red green and blue pixels disappear but the other stuff stays now what it's effectively doing is it's looking for any 255 value of red green or blue in isolation it's going to remove it and it's going to blend the area around it so it's going to look for the surrounding pixels and work out the average of those pixels and what it should replace it with it's a sticky plaster basically so let's slide this up until we get to a point a little bit at a time so we've lost the red one up here i'm just looking at this blue one here just so we can finally this one needs quite a lot in fairness don't push us to 100 98 well anyway so i'm actually going to make a call on this and say look we're going to reduce it to the point where all the other ones have disappeared and this blue one i'm actually going to do with a healing brush the reason being you saw how much detail that single pixel slider will remove if you overdo it so instead i'm going to do it so that most of the single pixels are fixed but that particular one is not um and the reason it doesn't have to be is because we're going to use our healing brush just to remove it oops sorry i don't want that um that extra one down there so that single pixel and that's going to fix anything that's a stuck pixel on a hot sensor for instance if the sensor has been going for 30 seconds next up the detail on this person oh actually one other thing to bear in mind even when you do the single pixel work you'll see you may not see on on the live stream but out at fit in terms of our zoom out here you will still see those single pixels they only disappear at 100 or greater so if you want to check you've got rid of the single pixels you need to be zoomed to 100 or more if you're zoomed out you can move this slider as much as you like the preview until it's rebuilt isn't going to make any um change so once we've come out just be happy that you've made the change don't worry that those pixels still show that's just a zoom thing rather than the fact that they're not fixed so now we're out let's look at the detail in this person here and what we can do is there's already a little bit of detail added but it's up here on the milky way instead of that i'm going to add some extra detail i'm going to create a new layer and we're going to call it person detail and we're just going to add a bit of sharpness around this person but we're not going to do it with the sharpening tool we're going to do it 100 flow really soft edge and i'm just gonna add a mask around this person i'm gonna pull down our opacity and effectively feather out the mask so we've got more of it applying here a bit less it can be as rough as you like it doesn't matter at this point so that person is now masked with that mask i'm going to go into my structure and clarity tools just to pull up some detail do not push this too far if you push one of these two door tools too far all that noise we're going to try to get rid of starts coming back especially structure if i push structure to 100 look at all the noise that i brought back because structure is looking for detail and texture the second it sees it it starts to enrich it and that's noise effectively so be careful with structure when it comes to noise clarity we can afford to push a bit more and that's just going to get us a bit more sharpness or perceived sharpness around that person we can't sharpen them they're not sharp but what we can do is add a little bit of emphasis and contrast around the edges and that's the key part that's going to fix that next up look at this cloud thing out here and what's going on so in our detail up here we've got the milky way being emphasized let's put it that way with a lot of clarity up here bringing the highlights and the whites up i'm not sure it's going to help too much but we'll um we'll have a look in a second look at our saturation layer well that's been boosted up here as well again more clarity we talked about this last session just be careful with this you've got a 100 clarity added on this layer you've got a 100 clarity added on the background and we've got 100 or 99 clarity added here the amount of clarity added to that milky way is phenomenal compared to the original now as i say clarity and structure be careful with noise because they can push it too far and in this case here it's probably been pushed a bit too far so if i look at our original down here we didn't have too much in the way of noise here we've got quite a lot in there if i just clone this variant and reset all our adjustments and just pull up exposure we can see that exposure comes up relatively noise free but with all those clarity adjustments we've got all this noise coming in so just be careful with that the other thing we're not seeing is so much of this bump over here look at this version here and this dark sort of cloud that sits out over the city or i guess it's a city but the lights out here and again it's coming from some of this clarity stuff and the highlight rising and the uh the whites lifting so we've just got to be careful with this stuff that you're not overdoing it the detail there kind of okay this clarity layer look at this horizon this is on the background that's with and that's without and i've got to say i prefer the without by a long way i get the temptation i get that you want clarity up here in the sky but this foreground down here it's just pushed too far and if i back this away we get back to a much smoother environment here we've lost some of the saturation in this so i'm actually going to pull up a bit of saturation and if i do want that clarity back in the sky alone then let's just do that let's just add a new layer called sky clarity and with that layer let's just put in a nice soft fall off of the uh of a gradient in fact we'll drop it down a little bit there and with that bit alone we can pull up clarity you can pull it up to your heart's content but be careful with this border again the second you get near to this border down on the ground you're gonna start introducing that that weird sort of darkened halo so to me that's where i'd get to rather than doing it across the whole picture if we want clarity on the skull on the stars and on the sky do that but don't push it too far across the whole image um sorry i just saw a couple things francois just said some dust on the sensor do you mean on this shop francois i didn't see much but um maybe i'm missing something so let let me know if it's on this shot um anthony just said what about linear response so excuse me so let's clone this variant um so this is our edit and on here on our base characteristics it's a sony a7r ii and it's using what's called the auto curve now that curve will take the highlights and brighten them and the shadows and darker them so we get a bit of contrast straight out of the the processing if i switch that to linear response you'll go from there to there now the advantage of linear response for sure is that we get to see more detail out here in these lights so here's with the auto curve in fact let's just pull them up side by side so auto curve is on the left linear response curve is on the right and we can see that we've got a lot more detail out here but what we've also done he's lost some of that punch on the left hand side that's now missing um in here because everything's flattened and the reason it's flattened is the auto curve is going to increase brightness of the bright areas and decrease brightness of the darker areas so we get a nice little s-curve built in linear response is going to flatten that curve and take it more like raw data which means for the bits that we do want to feature and do want to highlight we actually have to push them a little bit more towards the higher end of contrast so on my sky clarity layer that i had before in fact we may even need to pull that down a little bit now i'm now going to use the contrast slider just to give it a bit more punch and i might even then take our highlights brighter whites brighter although typically it doesn't affect the stars there is a reason for that by the way um so we've got it on our pro tips thing on youtube um in a different playlist you'll see there's one about editing the milky way if you actually measure the brightness of a star in a milky way image so let's just go back to our raw data and let's go into a bright star because stars are always really really bright yeah let's go into this one here and we can see our readout at the top of the screen in rgb levels in fact let's go to this one first this star that's moving is 36 in luminosity it's not 255 it's not 200 even this star here the middle part is probably going to hit pretty bright but we're talking you know 97 something like that look at this this um the little orange bar on the histogram left hand side even the stars are set well away from being bright this one here the brightest one is at look 130 440 243 so any work that i do to increase highlights isn't really going to hit here in the same way that it will do down here because as i move my mouse down here we're at the 254 255. so when i'm bringing highlights up and and um whites up in this shot here if i do it on this layer the sky clarity layer there's no problem it's not doing any damage because it's only affecting up here but if i was doing it on the entire picture all it's going to do is brighten these lights down here these city lights it's not going to touch the stars the stars are sat in the shadow so just be careful with that when you're trying to do this it's clarity that's going to help you it's contrast that's going to help you a little bit but even contrast can shift things down a little bit and a bit of brightness can also help too personally on the sky i would cool it a little bit and just pull up away from green and i'd get to there so this is probably where i would i would finish um on that shot anyway and if i look at before and after you know that's a pretty dramatic change um to the point where it's probably even too much even with those those bits of reduction um it's certainly better without the um without all of the pulling but um just be careful of that noise and if anything you could almost bring a nice little soft vignette um franchise francoise just said just stop on the top right a dust spot there's one there maybe oh yeah here oh now oh dust spot with stars right a few things you can choose to do whatever you want of course personally i wouldn't heal in the night sky the reason being because you're going to change the stars so if you think about this let's create a new heel there go to my healing brush reasonable size 100 opacity and i'm going to heal this area here to get rid of my dust spot yes it's got rid of my dust spot but it's also changed the stars um to something that isn't true that's that's not part of the night sky um so there is a way of doing this it's just a little bit more messy what we've got to do effectively is create a new normal layer with our brush nice low opacity because you're gonna have to do this in several rounds and we're just gonna if you think about what that dust spot's done is it's darkened this area and it's lightened the area around it so i'm just going to put in a tiny bit of exposure increase and we're just going to paint into this dot until it blends out with the background if you look at the mask on drawing it's going to look really really weird and not very accurate but if i go without there's my dust spot with it's a bit cleaner so you've just got to literally paint out the dust spot um don't don't don't don't at all um try and heal ideally um because it's not going to help you right uh do you think anyone notices changing the stars funny should say that vincent i've seen it happen i've seen someone post um a milky way above a very famous location and someone instantly pointed out that that milky way had actually been manipulated it wouldn't look like that they'd actually twisted it um so yeah immediately um some people will to you if you think it looks nice then then stick with it it's your choice what you want to do with the image but for those that are being pure about what the night sky looks like just be careful you're not changing the map um sieber's saying lowering the black slider will give some more um depth of sky yes it will um but in fact we've just got to be careful and actually to um francoise point the shadow of the light still exists we've got to be careful that we're not going to blend in too much into that shadow there but let's give it a go so with our sky clarity layer we could pull down blacks are the darkest parts we're going to get more dark sky there but we're making this more obvious um it may be that we need to sort of i guess normalize this area down here we can do it with the color tool so i'm going to create a new layer and we're going to call it sky normalize with this i'm going to just brush nice big area across here turn my mask on so we can see it doesn't have to be too correct because we're going to actually use the color editor skin tone tool to fix this and i'm going to choose here in our darkest area here and choose all of this surrounding color and saturation and we're going to say make this please more uniform in both hue and saturation but more importantly in lightness and it will slowly start to effectively blend in some of that halo now it's still not enough actually which is kind of a bit disappointing we may even have to go further but you start to see that we're effectively getting a bit more i guess softness in that blend if i turn this off so we get this definite line here indefinite line there turn it on and we get a bit more smoothness across it but it is a downside to doing it in this way if we wanted to we could spend a lot of time and it would be a lot of time um doing another one we'll just call it sky 100 opacity nice soft brush let's get my brush up there and when it comes down to here just reducing the size we can be a bit more accurate and just pull it right over the city as i say later on we'd probably even well magic brush is going to pick up some stars but using magic brush we're using aluminum range we could get rid of this city here but with that one on its own if we were to then pull down our black slider we may i guess reduce the impact of this this dark halo here but um it's not it's not perfect it's not gonna be perfect because it's part of the original shot again if i go back to the original shot we can see this dark sort of looming area over here that's the that's the challenge but to me that feels a bit better um as the final image compared to where we were before so we've got rid of those hot pixels got rid of some of the noise um fix some of the issue with that halo in the background but also reduce the amount of clarity we're adding overall and that's that's key if you've got a noisy shot especially at night if you have a hundred percent clarity than another layer with 100 and another layer with 100 you're just gonna you're just gonna keep um keep going and you're going to end up keeping adding noise right finally um mostly because there's not much to do on it from memory um this is brian's shot um napping funnily enough um so yeah somehow napping on one leg fair play um and the question that brian had was about the edge of this bird um and whether it's got some fringing on it or whether it's just movement my gut feel brian is it's actually just some movement i'm not seeing purple fringing on the edge um if i go back to the before shot your edits haven't altered any of that fringing we've got a little bit of haloing around the outside some of that is coming from the fact that we've got ink exactly the normal stuff so again look at the normal culprits a bit of clarity highlights fully reduced shadows pulled up quite a way you know white's fully reduced blacks pulled up a little bit and that's to get the overall feel of the image so from there to there so it's got all of this detail back in the shadows we've got some of the detail back in the highlights but the downside to doing it to that level is that you're gonna get unfortunately the risk of some haloing on the outside that said this is a hundred percent i don't see that haloing until we're at 300 percent maybe even more maybe even you know 400 what i do see is the noise pulled up and that's coming from this stuff here but again out of that distance not too much of a problem if you're worried about this edge not being sharp and it may be through movement we could just add a quick one in there called sharpen edge and i'm gonna add a very very very rough brush at a hundred percent let me turn my mask on along there and along there and with this edge just tap in a touch more clarity and if you really want to be neat about it and make sure that the clarity is only affecting the bird and not the background water we go to our luma range and we're going to exclude the brightest parts of the water there soft fall off bit softer on the edge a bit of radius on there and that's going to give us a tiny bit more sharpness so from there to there it's so negligent though it's so negligible though that you're not going to really notice it especially when you're out at 100 you're just not going to see it what i would be tempted to do however on this shot is give the bird a bit more head room um so if i get a clone variant here my temptation again personal rather than any um any other reason is to add in some extra space i love these reflections and i like the fact that you've got the reflection of the bird the weeds and all that sort of stuff but to me that just feels a bit more easy to breathe necessarily than this one this just feels all very letterboxy very very top-heavy um here we've got a bit more um a bit more calm up here and what we could do for sort of final add-on is say top blue i'm going to add a gradient mask down to here and with this top up here we're going to reduce clarity so remember we've got all the clarity added onto there and i'm going to shift our white balance to be bluer not too blue don't do that but we can certainly go a little bit bluer than where we were into there we could reduce that saturation a touch so it's not looking too different from the background but you can see the difference so it's gone from this sort of murky slightly off um almost yellowy color to this which is smoother because we've got that clarity down at minus 64. so it's got rid of the ripples cooler so we've got that blue extending all the way up and that to me if i look at this shot it's a good piece of wildlife shooting great but to me i just want that that bird to have a bit more headroom a bit more space um you know and then you've also got options so if ever you get that phone call from a magazine saying can we use this shot well yeah you've got some extra space up here for copy um you know i need to put a title somewhere i need to put some some content somewhere so i'd always be tempted to go a bit wider on these give it some space to breathe um rather than that sort of through letterbox look there there we go um so that's it i think for today so quick shot on on brian's but you know the bird is fine brian the answer to your question um it's not fringing on the edge there's a bit of haloing but at 300 percent don't worry about it but i would give it a little more space uh we've got jun's milky way shot so again it's just calm down the layers you know not quite so much clarity not 100 100 100 calm it down um use the single pixel tool to get rid of those hot pixels it's under the details tab in here it's this one here and you have to use it on the background layer you will not be able to use it on any other layer you have to do it on background and only do it at 100 otherwise or more otherwise you're not going to see the result uh jerry's shot here with the painters whether you want one painter or two painters up to you but the healing tool has the ability to move the origin for a reason please remember that and use the clone tool together um healing and cloning can be really powerful when done together and then dj's shot here that first one um yeah just again just be careful with the the overlapping of layers and you're not see-sawing um some weird stuff going on right uh other than that i will finish with today so all of those are good uh don't forget as i say we've got a weird um weird attempt at live um next month so hopefully that'll be a bit of fun um you can interact uh with us here on that facebook group so everything between now and next week next thursday we're back to thursday um so hopefully we're back to normal for a while we'll catch you then please remember to send in your images uh poryforlive.wetran you do not uh get your image on there if you don't give us the name of the person sending it so please add your name in also any issues that you've got with the image and send us the raw and we'll try and edit it but in between now and um so look after yourselves go out and shoot if you can um and we'll catch you in a week cheers everyone bye-bye you

Channel: Paul Reiffer

Views: 3,888

Keywords: Capture One, Capture, One, Post Processing, Editing, Phase One, Capture One Pro, Examples, Training, Learn, Lessons, RAW, Photo Editing, How To, Guide, License, Variants, Clarity, Tools, Masks, Natural, Histogram, Processing, Gradient, Support, Q&A, Edit, Adjustments, Contrast, Color, Exposure, 21, Landscape, Curve, Mask, Luma Range, Style Brushes, Custom, Style, Brush, Upgrade, Layers, Luma, Range, Clone, Filters, Adobe, Lightroom, Highlight, Recovery, Sunset, LUT, LUTs, Grading, Colour, Editor, Fix, 14.3, 21.3, Radial, Magic Brush

Id: A2fL9Ewuhq4

Length: 62min 11sec (3731 seconds)

Published: Tue Sep 14 2021