Live Editing Sessions - Capture One - 18th June 2020

good morning everyone good afternoon this afternoon here am i guessing good middle of the night to everyone who's in asia at the moment so all over again hi everyone welcome so today we're gonna go through actually quite a few images hopefully a little bit quicker than we have done before we can go into a little less detail than some of them so hi everyone from wherever you are Bruce is on large ad is now doing a road trip through worry about Wyoming South Dakota North Dakota okay cool where else we got Mexico Netherlands all over okay so let's get started capture one so version 20 is still the version that we're working on it's still of course the may update or as it's called however as of this morning for those of you that have got beady eyes on the social media profiles and everything you will notice there is a new build out build thirteen point one point one or twenty point one point one depending on whether you work in software or marketing from that perspective it's up to you and the way to check for the version that you've got is either go to the capture one menu or the help menu from Windows or Mac and go to about capture one and it will tell you the exact version you've got this version is quite important because obviously the version that came out in May was pretty advanced it have a new heel tool they have the new before and after tool but this is the first opportunity that the guys are capture one have had to fix any bugs there's quite a few fixes hidden there as you can see on the screen you may not be able to read it all but if you go to capture ones website you'll see there's an awful lot of change that's happened in this particular version there's also some minor improvements in the way that brushes and gradient layers are selected to get you onto the right tool based on whether or not you're you're using the brush or the gradient layer how that particular times a little bit frustrating when you were using in flipping between two different layer Styles you'd end up with the wrong tool selected but that's now been fixed there's also a load of stuff around hardware acceleration output 9 OpenCL and there was a couple of bugs with some vertical lines and stuff but have a look at the bug fix list see if the bugs that if there are any that you've noticed are on there remember a lot of these bugs you wouldn't actually notice they can be so obscure and so remote for you to come across that most people actually don't realize when a bug has been fixed but in this case it's the first opportunity I've had to fix stuff since the May update with the new features ok so standard ground rules as it were so we're about a 15 second or so delay in terms of your comments coming through to my screen as we broadcast that's just unfortunately the way that streaming works so please participate please put comments up or questions as we're going we may have to go back to an image if I've missed it during that time period but I'm not necessarily ignoring you that's just a bit of a delay if it's a specific question you've got either if it's a bug please send it in to capture one I can't fix bugs in capture one mode if you capture one team cam if it's a question about usability then you go onto our website in those contact details there and you can see what we can do ok so let's go on to capture one screen and as promised last week there's been a week it's been over a week hey everyone so as promised we're gonna start with Trish's image so this shot was actually sent in a little while ago so apologies Trish we almost got to you last week but here we are now and this has actually got a good good reason for us to talk about the curves and profiles and so on when we important to capture one so this picture obviously came in as black and white and to all intents and purposes when I go into my histogram here we're gonna see this is a blackened histogram so you don't see red green and blue channels this is a if you can't notice these black and white this is a telltale giveaway that it was black and white one of the reasons that you might not notice this black and white is if you just put the saturation down you wouldn't necessarily see this black and white histogram this is the total sign that you're only dealing with black and white ok so let's have a look at when we import because this is the important part this image was imported as a Fujifilm xt3 shot and it's come in with this curve called auto now fuji has a slightly different way of working to a lot of other cameras when they when it comes to capture one so normally Auto means capture one will apply its best settings or its automatic settings to the curve that comes in to capture one the curve relates to how much of the Donna range were able to see of that picture so I know this morning I was helping the guy who was struggling to see some highlights in one of his pictures and the reason was that actually the auto setting in capture one had actually clipped some of the highlights where as if he'd switched to linear response which is a different curve then you can see more of the cameras dynamic range now in this case for Fuji specifically when you select Auto it actually uses the curve that you chose at the point that you took the picture now if I click into this curve option here we have things like linear response if I go to that oh look it's a color image now but linear response is quite a flat curve but it does show you the whole dynamic range of the camera we also have all these other fuji film film simulations have been loaded in and that was part of the deal with capture one and fuji when they released their product together so if you're using a different camera system you won't necessarily see all these film simulations but you will see things like film extra shadow film high contrast film standard linear response and so on and they affect the way that the colors are imported and the levels in luminosity are imported into capture one now in this case I've actually played with linear response and seen it it's a bit of a difficult shot in terms of cover to play with so we may stick a black and white however just bear in mind that if you're using a fuji camera and certainly looking at the images that a lot of you have sent through a lot of you are using fuji cameras when you do that remember it's going to bring in the curve that you set in the camera and use that so if you set on the camera to record in black and white that's what it's going to bring in it doesn't mean it's only recorded in black and white it still has all the color information but you've got to select a different curve when it imports so if we were to do that in this case let's put in linear response we now have a different histogram we've got a histogram fuller more the color detail that wasn't there before so it's still there we've just got to use that as I say different curve and we important so when we will need load of this picture we've got it's a bit of a tricky one until the dynamic range because we've got quite a significant amount of highlights up here we've got a lot of shadow down here and we've got a lot of stuff in the middle and normally we'd either try and squashed off to the middle if we've got too much that's out of range or we try and stretch things out fit it around it is flat in this case we've got a huge shadows huge highlights and it's flat everywhere else so it's a bit of a little problem and actually Trish probably made the right call when actually taking the shot which was to use black and white so I'm gonna switch back to the auto function that Trish actually used and just make a couple of tweaks that might make this pop a little bit more so we're going to go onto our exposure tap so up here on the top left so we've been dealing with the color tab that's actually where you find the base characteristics of the shot and that applies to every shot it's just the film styles are unique to Fuji but go to the exposure tab we've now going on here all of our normal stuff so we can of course well white balance is interesting in black and white because it's um it's still gonna affect the raw data behind the scenes but you're not gonna see any change in color necessarily just gonna see different reactions and different tones so we're gonna leave that one alone but we are gonna play with those a high dynamic range and a little bit of gradients graduated filters so first off let's see if we can get to some detail in these rocks because there is a lot of detail in there so if I pull up the shadows we have that detail back and let's think about what our subject is in this shot it's this guy here is the fisherman but at the moment with this as it stands this is the biggest thing I see I'm looking at contrast first with my eyes so when I come into this shot the first thing we see is that great big wall and then the second thing I see is the guy I sort of lose him a little bit in the image the sunrise or sunset I'm not sure which one it was we're pretty good but we're gonna we'll get rid of all that color anyway just to keep the focus on this guy in the first place so let's look at the difference between shadow and blacks so let's pull up shadow that's going to pull up anything remember in that bottom quarter of a histogram so not only is it affecting those darkest parts of the wall it's also going to bring up this beach here and it's gonna have unfortunately the effect of flattening this image even more so we said already the image was already a little bit flat by pulling shadows up we're gonna flan it more but where this wall sits here isn't in just the shadows it's actually in the darkest part of the shadows the bottom 5% bottom 5% is considered black on our high dynamic range bottom photo sorry top 5% or even a little bit more acute than that is considered white here so if I just pull up the black slider instead of the shadows you see we're just affecting the wall so black bear is just gonna let me do it to an extreme don't do this but black is gonna affect the wall whereas shadows - the same amount affects everything that was in that lower half of that histogram pretty much all lower quarter for sure so it's black that we want to use and pull up here not too much we just want enough so we can see some detail in these rocks if I put it back I'll back down to zero we've lost a lot of detail and there's a huge amount of detail in there but we don't want to up that high that just looks cartoony we probably want it around that sort of level there okay now let's think about how we draw the focus onto this guy here now there are two ways of doing that number one we're gonna try and sort of lose some of this background information here and white background actually mean the foreground but it's still background in terms of our subject and also we're going to try and darken this sky a little bit so to do that we're gonna use the gradient filter gradient filter comes in two varieties one is circular one is linear so we're gonna use the linear one first and we're gonna use the sky as our first experiment so I'm just gonna draw a mask so by drawing and stretching we get the mask the further I stretch the more and more soft that fall-off is so the more gradient we've got the less I draw the harder this line so the more direct that fall-off becomes and this is the difference in real life between a hard regular sort of graduated neutral density filter and a soft graduated needle neutral density filter so a soft one typically goes across most of the frame a hard one is like maybe ten percent transition you can also get medium ones where it goes across about a third of the frame but in this case we've got ultimate flexibilities we're doing in software and we're gonna stop about there if I move my mouse over the middle line it turned into this rotate tool and I can turn it and remember I'm not following the horizon I'm following the light and at the moment I'm following this bright line here which actually goes down at an angle so with that set we're gonna do two things I'm gonna turn the mask off so to turn the mask on we press M on the keyboard for master turn it off the press M again and I'm gonna pull down the highlights so if I do this just with exposure the whole of the sky gets dark and that doesn't really make them all that much sense but if I do it with highlights and whites then we're just affecting the brightest parts of that image so it's just softening that transition there between the highlights here and the cloud that's above in other words taking away some of the focus from then we're gonna do the same with the foreground here we're actually gonna make the foreground pretty dark so let's call this layer sky so just double click on a layer and you can type in the name and this one we're gonna call sand so again linear filter the first time I select a gradient mask that's linear or radial it will automatically create a layer for me the second time I'd do it if I were to do it on this layer turn my mask on if I now start drawing another mask it replaces the linear filter that I already drew so be really careful with this the first time you use these tools it will create a layer for you the second time it will either replace the one on the existing layer or it'll expect you to create a new layer for it personally while the auto create layer is really handy I still go through the sort of methodical process of creating a layer first when I'm creating gradient mask just so I don't end up accidentally undoing one of the one of the ones I've already spent time on so in this case we've got sand there's no mass there at the moment if I start drawing your mask now even though I want it to affect all of the sand I'm gonna make it really soft here because I want a nice soft fall-off towards this wall and with this mask we're actually going to use our exposure so it's not it's not just highlights or shadow in fact there's no highlights down here really but it's not even just shadows that are one of the FET I want to affect the whole lot evenly I could do that with brightness but actually I'm happy to do it with exposures I'm happy for some of it to fall off the end of the histogram if necessary okay so we've now got a bit more focus on this guy but now let's really pumped up a little bit so on our background layer I'm gonna put a little touch of clarity in and then I'm gonna create a new layer called fishing person radio masks so it works exactly the same way as the linear mask however the the radio masks you click in the center and we pull out from that and then you just turn them ask on so you can see and the further we pull out the bigger the mass gets same as with a linear mask if I put my mouse over this middle line I can rotate it and the way that we control the fall-off in this mask isn't by making the mask bigger is actually by stretching this middle line here or this outer line here so the further away this line gets from this line the softer this fall-off is precise just said there should be a warning pop-up if already a gradient filter exists in that layer so I've thought of that before I don't agree of the more I've looked at it and the reason is because sometimes I do want to replace the gradient filter on the layer and if capture one were to tell me every single time I did that by the way you're replacing your layer it's gonna get really annoying so remember you can always undo that's the key thing and capture one you every single thing you're doing you can always just click that undo button or press command or control zedd and you're undoing anyway so it's not the end of the world if you do do it but just be aware that if you accidentally leave yourself on a gradient layer and draw a new one it's going to replace it not add to it so on our fishing guy here let's just do that there so very very soft grading here we could do this with the vignette but obviously he's not in the middle so vignettes gonna be evenly all the way around and with this layer I'm just gonna sort got complete control I can now control how much exposure we have around all of that image based on the red parts of this mask and in this case I just want to go to there and what I'm doing is I'm setting the exposure to this let of this part here and then I'm gonna go back to my background layer and pull up the brightness slightly and that's it so I'm offsetting effectively so my top layer is pulling down that ring that vignette and it's darkening the areas that I want to be masked and then once I've done that and I've got those all got the highlights to the right air or the right amount the difference between that and the outer ring I then pull up the whole image so that we haven't lost it all in shadow we can also use levels a little bit if we wanted to so we could pull this level in a little bit just to make sure that those highlights are actually at the 255 level and then we're pretty much done there is a scenario here in my head around the crop so at the moment it's a probably a 2 by 3 if I were to make this a 1 by 2 crop I think it might come across a little more dramatic and what we do is we put the wall on about a 1/3 line roughly and we have our fishing person here probably about 2 there oh that's good and we get to there and that would be it for me so let's just reset so there's our original we came out of camera and that would be the crop that I'd use personally so again very very small changes in this one to be fair out of the camera its bits pretty good out of what we'd expect in this particular scene we can see that the light is challenging this one especially if we turn on back to the colored curve but to me as a print this one probably works a little bit better just from the fact that we've got rid of some of this stuff down here which isn't adding anything to it and we're just focusing a little bit more on this person this becomes the subject of the image rather than the big black wall first okay so let's go on to another image Enrique so oh sorry Trish is just put a note saying I also cropped out and healed the airplane which aeroplane as a bird I see those contrail here am I missing an error somewhere don't know if anyone else could see an airplane maybe I'm going blind for this contrail in particular though let's just just do that just for the sake of it so let me go to my in fact we don't go to background now we're gonna create a new layer called it the contrail and we're gonna use our healing brush for this one in fact I can't do that on that layer I need to create a new heal there or if I just start with the healing brush with no layer selected it's gonna create a new layer automatically for me see that on the left hand side and you heal there and let's just do that I don't have to be too careful with the new healing brush it's pretty good at this stuff there and if we wanted the bird to go we could just delete the bird for fun I don't think we probably leaving it but yeah so of course we use the healing brush to get rid of things we don't want by still can't see an airplane okay so let's go on to Enrique shop so again out of the camera this is pretty nice it's nicely balanced let's look at our histogram here just for reference as well on each of these shots just to save a bit of time for people assume that we've made all the lens Corrections so again on every shot make sure if you can you've got the correct lens loaded in if you can't it either gonna say generic if capture one doesn't have it or else a manufacturer profile if the camera is actually loaded in the lens profile for you in each case I would always recommend choosing analyze if you are on a generic profile it's gonna have done that anyway and if you're over f/8 then try and hit diffraction correction just to fix any softness and they capture one do it so let's assume that in every image that we've already done the lens correction for you so in this one we can look at our histogram it's pretty flat in terms of contrast and we can see that from this style here so this particular image has got not a lot in the absolute highlights not a lot in the shadows but that's what gives it its appeal so let's use levels let's just show you what would happen if actually this was a completely high contrast image so yes it pops a lot more but it's actually lost all of that factor that it had in the first place all the natural elements of it and all the serenus so we've got all of a sudden we've got all this stuff back here in the water we've got what looks like a dust spot or something on the lens here which we weren't seen before the mountains there for sure but we've now got some really heavy shadows on these flamingos it just doesn't work so I actually like the fact that we've got a really soft toned image and a real mid contrast shot however what we can do is increase some of the color in this image just to make it pop a little bit more and we can also maybe smooth out some of this water so first thing we didn't actually cover this on Tricia's but let's go to our straighten tool up here and just make sure our horizon is nice and level which it is perfect and then on this shot what we're gonna do is we're gonna create a new layer and I'm gonna call this one sky mountain because you only cover both and let's create a gradients as a linear gradient as well now in this case I'm actually happy to have quite a hard fall off on this gradient because I only want it to affect the sky in the mountain and not the ground so I'm actually going to draw it really quite tight to level here and I'm just gonna make a little adjustment just move it down a little bit down to there and there okay so if you saw before we had a really really soft gradient that fell off really really slowly in this case we're gonna have a really hard fall off because I don't want to affect anything on this ground here we don't affect that with a different layer so with our sky what we can do is we're gonna pull up a little bit of clarity not too much I don't want the mountain taking priority over the focus here the priority should be down here and our subject but I do want it to pop a little bit more than it has so it's out there in the mist let's just use clarity just to clean up those areas clean on that that the mid-tone there remember and I again we've just done a new pro tips video on clarity and structure and sharpening clarity is the one that affects areas but it's also the most effective of mid-tone so it's a great mid-tone adjustment tool and it will start to stretch out those midterms and give them a bit more contrast so let's just have a little look at what we can do with this particular gradient and we're gonna go to our color editor first and we're gonna choose with this picker here the sky color and I could do this with the mouse by clicking and holding and we can go right and left to change the hue so it goes to them pink down to green if I go right and left or I can go up to increase saturation or down to decrease saturation or even hold down the option key and do left for less lightness and right for more light so I can do that all with the mouse or if I don't want to do that I can just do with the sliders here which is quite often a little bit quicker so I am going to increase the saturation a little bit of those blues and decrease the lightness just a touch not a huge amount so if I do click undo so you can see and with it's just made the Blues pop a little bit more not too much Miguel was just asked before making a mask and changing any values it possible to do a hail on it I'm not sure what you mean by hail you know if you can let me know what you mean we'll try and cover it so let's let's look at this background layer here so we've got this layer here masked and in terms of this mask we know that it's going to stop here so I can afford to increase some contrast as well as just that clarity boost so we can actually pull out contrast up now not too much so again if we've increased contrast we end up with this horrible very binary effect but we're just going to increase the contrast a little bit just to boost it and we might want to pull down our highlights just to touch as well just to give the mountain a bit more presence so if I turn this layer off you can see the difference is subtle so that's before and that's after we've basically brought some more presence to the mountain but without having to increase too much contrast or make it the star of the show Miguel's sorry Miguel you just asked so before making a mask and changing any value is it possible to do Hale on it after doing the mask Ilana sorry he'll cool is it pop so before making your mask and changing any value as a possible do a heel on it yes it is so your heels if I put a healing brush in under a mask everything that the mask is doing is still going to apply to the healed version if I put a healing layer above the gradient mask then the healing layer is going to apply to anything that the gradient mask has done so yes you can mix as in in different layers a healing master gradient what you can't do is heal on a standard adjustment layer so if I would look at these layers a standard adjustment whether filled or empty these are the two that you typically have masks on I cannot use the Healing Brush on those layers because the Healing Brush creates its own mask that fills in detail what you have to do is create a new layer either above or below and then you can do your healing above or below the gradient okay so that's our mountain what about these down here these flamingos so in order to make them pop a little bit more we're gonna do a couple of things so number one we are going to create a new layer called water and on our water layer again let's just turn our masks on so I'm actually gonna have a soft fall off here and with the water layer we're gonna use clarity but in the opposite way to normal we're gonna use it in a negative way and I'm just gonna zoom in so you can see just here so let me just undo temporarily so that's without and that's with so you see it's very very subtle what it stuns it smooths out some of the water and here we have got as because talking about heal there so let's have a little look at how we can fix that so I'm gonna create a new heal there when I choose the healing tool it's gonna automatically create a layer now on top of wherever I was and we've got this dust spot here we want to get rid of so let's just draw a little circle around that spot it's chosen its origin over there and it's got rid of it and you'll see here it's created that he'll live about layer is separate to the ones that we've masks if I look at the mask on this layer it's purely for healing whereas if I look at the mask on the water layer its everything over there okay so that's da spot Gong the water is a little bit smoother in that we've reduced all the clarity down to zero so we've got no texture difference in areas for contrast now I'm also going to pick on that color again so let's pick on this here and we boost the saturation just a touch and reduce the lightness just a touch and that's it again small changes it's all about small small changes just to make tiny little differences then finally we've got to deal with where the birds are so let's create a new layer and we'll call this one and ground Birds and in this case I'm actually gonna hand-paint just for fun so let's go to our browser right click on the screen anywhere on your brush selection I'm going to choose zero hardness I'm actually gonna pull the opacity down a little bit and we're gonna start just painting over this section here now because of what I'm gonna do in terms of choosing colors it's not too much of an issue if I go over the edges and over the borders it's just rather than war aliens and stuff like that we can just do it with a quick quick mask this one here um I actually get rid of in a second with the healing brush just looking at it now let's just going over these bits yeah that's looking pretty good okay turn my mask off and now with this layer we can do a couple of things number one we're overall going to increase the saturation just a bit number two we're going to increase our contrast just a bit and you see we start to see a difference then between here and the mountains of the background and then finally we're gonna go on to our little color editor and we're gonna see if flamingos really are pink so let's click on its neck yep and let's just zoom ah I tend to find zooming out when you're doing landscape color changes is more important than being in their clothes especially if there's quite a sweeping change so if you're gonna do it make sure you're looking at the whole image because otherwise you can spend so much time making sure the flamingos nice and pink you don't realize what you're doing with the rest of the scene so in this case we're going to pull off saturation at touch it's not a huge amount again and pull our lightness down and that's it the only thing again I might make a decision to remove is this one here if I go back to my healing layer I can use the same layer now as with version or the may update of version 20 before hand I'd have to create a new layer to be able to do this but I don't anymore 100 percent opacity because I want to get rid of the whole thing and let's just draw that bear and it's taking it from here with this line I don't want to do that so if I click in this origin appointment turns orange and I can just move its origin point around I've done a pretty good job there and there we go so let's just create a new version of so there's our original again these are very small changes we're making to this shot and there's our finished one so it's just making it pop a little bit more but it's so subtle you can't say it's been over processed or over edited we've just made it pop a little bit or and made the mountain a bit more obvious that's all okay let's just have a look at some of your questions quickly so what settings to be used in an image to check the quality of a recently acquired lens to checked decent Rama's honestly get yourself a test grid I'm actually Phase one to a really really good test grid you can print out from their website and take the images at and what you want to do is look at the widest aperture of the lens can do that's gonna tell you how it performs at its claimed widest aperture typically lenses tend to get a bit soft when they get towards their absolute limit so then try a couple of stalks down so if there's a 2.8 lens and maybe try shooting for 5.6 or so on your typical one for landscapes are give it a go at f/8 and f/11 see how they're gonna come across give me the test remember as well when you pull in to capture one to do an analyze on the lens and make sure you've got diffraction correction on if you're doing anything a or 11 and then just zoom in get it get yourself into a hundred and two hundred percent and see what that does so then next question are there any possibilities to combine masking with color range and brightness masks yes there are and so we've just done it funnily enough so if we look at this particular layer which was our ground and Birds layer we've chosen a particular color range through the color editor tool so we've done the change on these pinks and reds so if I'd accidentally which I had actually force a look at we turn the mask on so bits of the mask here actually over the blue water they're gonna have no effect they are gonna change the contrast in the saturation overall but the colour editor is only applying to anything that is in this color tone so the pink sand ready sort of colors in this mask so the two are absolutely a combination and then JD has asked where was the flamingos picture taken and to answer that I need Enrique so if in Richie knows if you can let us know and then JD can probably plan this trip there I don't think it's somewhere on the your road trip JD but we'll see okay next one so Robert sent into cityscapes I'm only going to edit one of these I just want to talk about them both though so this is a really really really nice shot in terms of its reflection and everything like that and it's positioning except for this fence it's such a shame now if this was a corporate job a commercial job we might spend time trying to get rid of this fence and we'd end up having to an effector we do it with the pixel editor and you're just gonna Photoshop the life out of it but in this case there was a much better shot you sent in which was this one in terms of its composition and not having that in the way now when I say better shot obviously this one looks a lot more bright and alive this one is a little bit under however the right decisions been made in terms of its exposure so let's have a little look at or exposure tab so this one up here again we've got all this stuff down here in the shadows but look at what's happened with the highlights even with all of this stuff underexposed these highlights are still blown out now there are two ways of getting those highlights back and I'm going to show you the second one in a minute after you've made some changes but the first thing we're going to do is see what was in the shadows to start with so the quick test is use your exposure slider pull that all the way up and let's see what we've got in the shadows without too much noise and actually there's loads in here so let's go into 200% we've got loads of soften ooh yes there's a little bit of noise coming up however let's have a little look at what's going on in terms of how we can pull those shadows back because we're not going to do it with exposure we're going to do it with our high dynamic range tool so we've got all this detail in here what about the highlights let's have a look up in this building so exposure back to 0 so double-click on any slider in or reset to 0 let's pull the exposure down to the left and although these lights themselves are actually overexposed there's still a huge amount of detail in this building too so actually our exposure is the right balance is right in the middle and we're going to use high dynamic range and the range of the camera to pull all the detail back so I'm just gonna clone this one so we can see initially the difference between before and after we have a before-and-after tool obviously but sometimes easier to see it a little more side-by-side and in here we're gonna do some really really quick changes so first off let's look at our highlights let's try and get the highlights back we're gonna pull our highlights all the way down and we're gonna pull our whites all the way down I know I'm not affecting anything else and the images have got nothing up here in the histogram to do that to then we're gonna look at our shadows so let's go into this area and we know that there were all these rocks here so what happens if I pull up our shadows a little bit not too much because remember the shadows affects the whole bottom quarter now I can pull up the black slider and look at that difference so that's the mark that's basically the bottom sort of three four five percent of the whole histogram and those shadows so now I've got all of these rocks back with all that detail and I've got the detail in the building if I want even more detail even more still let's talk about those curves again so remember we talked about the curves at the beginning of this session well I Nick on picture you don't have all of the Fujifilm film simulations but what you do have is the standard ones in capture one and one of them is linear response so linear response flattens the image effectively it gets the whole dynamic range of the camera and it pulls into the histogram well that has an effect of doing is it looks like the images got less contrast but it does mean you've got a lot more to play with to start with so let's just do without that's also remember this is with all the HDR changes so I've pulled our highlights and our whites down as low as they can go but linear response as a curve will actually bring us even more detail in that building the problem with linear response and I've often found this is as I say it gets a little bit flatter so let me go to 200% so just so you can see with our auto curve you see how these lights here sort of glisten that they look right there are big stars there the stunt or the staff layers of light flares and so on that come all the pinwheels that come from shooting directly into light and they're glowing they look like they've got a lot of contrast as they should do however if I go to learn your response you see how flat bats got so the center of a light is still very bright must because it is absolutely overexposed it has to be looking at the we're looking directly into a light for 37.6 seconds according to this picture however when it comes to trying to make an image pop we're gonna then spend a lot of time then trying to bring those highlights back so linear response is great if you want all the dynamic range of the camera but if you want an image to pop sometimes it's going to find it too much to start with and in this case I'm happy with that amount of high light recovery if I compare it to there we're in a much better place to start with I want to play with the white balance a little bit so David sorry if it's not anon late so you should be oh you don't worry we've we've covered filming curves and stuff like that on fuji we'll do it again at another time as well don't worry so the other question Robert do you take all pictures I sent yours in the 8th of June so it depends Riley we need to in maybe a few things if we haven't got your name we haven't got any detail of the image or sometimes we'll try and fit pictures that work together on the same sort of theme like we are today in terms of curve so you might find that we try and cover it a bit later on but send us an email in if we might not actually have ended up with it so send an email and if we're missing it and we'll try again ok so on this shot here it's a little bit green you see the tint in the image is a little bit green now that's nothing to do with these curves so in here what these curves aren't necessarily doing a changing actually changing the colours what they're doing is they're pulling colors of different levels and so on throughout the image as you edit them but they're not necessarily changing the white balance in the shot the white balance is always going to be found in here so let's have a little look and pull down our white balance as a city shot at night doesn't make it feel a little bit more like the night and let's pull up our tint a little bit to get rid of some of that green I don't want the image to appear purple that's one of the key things here so we don't want the image to turn pink and these things here these trees obviously should be green the grass should be green but what I don't want is that green tint appearing on here then I've got a little bit of a Keystone correction to make here we can see in reflections really have Keystone reflections or the Keystone questions because we can see the difference that it makes so vertical Keystone in this case I'm not worried about horizontal before we do that we would normally do a straighten but here it's a bit difficult because we can't actually see and this isn't necessarily straight here it could be going away from us so we're just gonna do the vertical correction and I'm gonna go to this building here and draw our two dots between those two points there because they should be straight hopefully as one of their constructions good and this building here that looks straight there and hit apply so now we've got straight buildings much better as a shop to look at and then we might just play a little bit with crop I don't think a two by one crop is gonna work on this one so we're gonna leave it as it was with three by two or two by three but we're just gonna maybe lose this very very very front Rock here or some other detail within it because it's just a little bit distracting so I'm gonna pull that crop down to there and this bit here I'm just gonna do one final thing which is a new adjustment layer with my brush I'm gonna change the quite a large brush not very opaque I'm just gonna draw on to this front rock here with that layer I'm gonna darken it so pull the exposure down and then the more I paint the darker that rocks gonna get okay there we go so the there's our shot here and there's our final that's quite a huge difference and even if I do that before and after which which also affects the Keystone so before and after remember well it will inherit the crop and then the Keystone Corrections but it will show you before and after in terms of what's there in the image there's a huge amount of data in this shot but in the initial exposure it looks like it's been either over in this case overblown and underexposed so it's really important that you have a look at the data you've actually got in the shop before you throw any image away he's actually in this case there's an awful lot of good stuff in there it's just we need to pull it out okay so is there a shortcut to increase and decrease the size of the brush yes there is so if you right-click on the image anywhere you'll get the little dialog box up it's just the size you want to change use the painting on the picture and use the right square bracket so the brackets that sit next to your return key on your keyboard to make the brush bigger and use the left square bracket to make the brush smaller when I'm doing brushing on an image I've typically got my left hand on the square brackets or one finger right and one figure left and then just use the mouse and click for the actual painting so right square bracket makes it bigger let's go back and makes it smaller it will keep the hardness opacity and flow you can't do those by keys when you're brushing but this size absolutely you can okay next one let's have a look at Claudio so let's just have a look at the issues in here as a couple of issues actually so number one actually there's a really quick one again but number one let's deal with some of the exposure difference here number two we've got this little lens flare so that's just very quickly in fact first off let's just create a little bit more warmth in this shot with a small mic balance change to about there that feels about right next I'm going to click the the gradient filter here so the square radio or the linear gradient and of course because I don't have a gradient layer already selected it's gonna allow me to create a brand new layer as I do that is adjustment layer one on the left hand side and I'm going to rename this one to be highlights and with our highlights or specifically in this case the sky but also a little bit of the sea we're going to do a bit of highlight correction so I'm going to pull that in look at all that detail on that Sun that's great touch down on white okay cool now on this one it's a bit difficult to see what the subject of our image really is because if these green bits here in which case we want to build up the structure of them or is it the sunset itself or is it this pier that's where I struggle a little bit with this shot to help with that I'm sort of gonna crop I think probably a little bit down to maybe even one bite is it's three by four to start with yeah so maybe two by three and we'll just go to about there that feels a bit better just a bit tighter just to get some of the focus off to here okay with that done I'm now gonna create a new layer because I don't want to create or don't want to overwrite my gradient on the the highlights one and call this one rocks a new gradient layer just for ease I could of course paint on this layer but I don't need to gradient less didn't do a good job and with this one we're gonna pull up some clarity we're gonna make these rocks pop a little bit and also structure so where we've got texture in these rocks like here at 200% here with structure I'm going to do it to the maximum so that's horrible to see that we've got all the textural detail and all that stuff back much great don't do it too much so I'm gonna pull this down to about 15 but overall if I just temporarily undo you see there it's gone a bit flatter with that change it just pops a bit more a bit more detail and texture and more clarity and structure so that's gonna make those rocks a little bit more exciting and then we've got this lens flare here so before we fixed that let me just make sure we're completely straight so again straighten tool up here the little circle around the plus sign and it's gonna draw a lot on the horizon horizons are great for making sure that an image is straight yeah we're pretty good and then so down here now a lot of people in old capture one let's call it that so before the may update we would sometimes have to look at this as a color editor problem so we'd actually go to the color wheel and we would draw a Celeste just create a new adjustment layer and call it lens flare fingers a lens flare the reason that we do that is because the healing brush sometimes wasn't that well behaved the new healing brush is great with us what we're gonna do in the end but what people would try and do because the healing brush wasn't great they go on to a new layer create a new mask over this red bit here just turn my lawn so you can see okay and then in our color editor we choose this red and we take the saturation down and we take the lightness down and then we'd have to choose this bit of red here and take that saturation down the line that's down and it would take ages to do in genuinely would it is still a way of doing it you can still use this tool to do that you'd have to make some a hue changes as well but you really don't need to the new healing brush is so good now fixing this stuff you don't want to worry about it so click on the healing brush small brush I've got all of my brushes linked so when I make the brush small for painting it's also small for healing and I'm just gonna draw over the area we want to get rid of done I can choose my origin point so if I want it to look a bit more authentic with some more detail and texture in it I can choose from different places hasn't quite got all that we've still got a bit of a pink tint to it there we go that's much better and done in while I was to click really so all of the color editing stuff that we have to do before don't worry about it the healing brush now gets rid of all of those challenges so don't worry about it Trish just asked what's the difference between a filled and an empty layer when you would use each type so very simple let's just create a new empty adjustment layer if I turn my mask on so you can see and if I were to paint into this mask we just make it bit bigger so you can see there I am filling the layer with mask I can right click and say fill mask and if I had a hole in this mask like this it would actually fill that in as well but I'm basically filling the layer now if I want the whole layer to be filled I can just erase all of that I can effectively do a around the edges sorry just do this right I'm still on the eraser so I can do that and that and that and that and then say right with that there please fill or it's much quicker to just create a new filled adjustment layer which is built so the difference between a filled layer and empty layer as a fill layer is already filled you can use the erase tool then if you wanted to to erase parts out of that filled layer whereas the first or an empty one it's empty to start with and you fill it instead okay right let's get back onto this one here and then turn our mask off so I can see properly and then one final thing I'm actually going to use a traditional vignette on this shot we don't try to use these too much but let's just do that there just to bring a bit of focus back into there and that's it so if I create a new clone so there's our whole image as it was and there's our after so again small changes but it have a big impact okay laverna I love this shot when the shot came through brilliant what brilliant haven't this shot however is not a thing over here and the biggest change we're gonna make in this shot is simply the crop and a little bit of healing to be honest it's the fact that these two are happily sort of cleaned by with the alligator crocodile I don't know can't remember the difference I was taught it once but then I remembered okay so let's go to our crop I'm gonna choose the original crop and respect the original crop that was there and we're gonna pull in and that's 2x3 so actually I'm going to change that now to a medium format crop just because it's gonna suit my needs a little bit better and I'm gonna come to there and down that just feels much cooler as a shot now we could make it a little more landscape by keeping respecting that 2x3 however what worries me with that is we lose some of these hanging branches in Haines is a really really cool but you know it's personal choice let's try a little quick Heal on this shot over this little area down here just make sure my opacity is up yeah I'm just down just to get a smooth transition just want to get rid of that because I don't want it to be distracting and it's chosen the wrong place for it so we're gonna go to there so it's a bit of grass that's much better and then around our crocodile slash alligator thing that I don't want to meet on the street either way we're gonna create a little bit more focus on the way that we're gonna do that instead of using a traditional vignette and let's just show you so traditional vignette is going to evenly do it around the edges but of course the he's not sat in the edge there's hats off to the right hand side so let's just use instead our radial gradient mask and we're gonna pull it around this animal here just are there I can press M on the keyboard again to see the mask and with this mask I'm just gonna pull our exposure down a touch I want to keep some focus on these two so I don't want to pull it down too much but I want this an AFOL to be the center of attention to be the actual focus of the shot so with that done we could effectively pull up some more clarity on him so or him or her I'm not sure which how you tell either for not sure what animal is or how we tell whether it's female about okay let's have a look at our clarity so in fact let's zoom into 200% so we can see a bit closer got a little bit of softness and it's pretty understanding there's 150 of a second but they're obviously moving a little bit and I'm hoping you were moving away but structure will help with that quite a lot it's gonna help clean that up quite a bit oh sorry I'm on our adjustment layer it's not gonna help I want to be on our background there so think about what I just did and why that didn't work so on my adjustment layer here when I'm changing clarity is only affecting the clarity on the areas of the mask which are anything but the animal so we want to do this on our background layer let's just go down there or we could actually mask the animal in isolation but in this case the background layer is fine let's pull up our clarity a little bit and our structure there we go now we've got a nice little sharpening on this guy here that's cool that's also gonna bring up the sharpening in the pavement which is good and I'd say that's pretty much it it's not of me that's not a big change it goes from here to here and this just feels more like in a cooler shop but to be honest it was pretty damn cool to start with and actually I would be more worried about getting away than I would get in the frame right and we can always fix it in post okay so cool one another Edward so cityscape love cityscapes so these are the standard sort of cityscape settings we've talked about these before a couple of occasions it's just isolate down on this picture okay so first off the white balance isn't too bad but we've got it's very very very yellow and purposes again personal preference is not me saying it's correct or or one is wrong one is right but I always find that cities look a bit nicer when they're a bit cooler so I tend to cool them down a little bit and what I'm looking at is these yellow lights here have now become a little more white that's better okay I'm also looking at is our overexposure up here so just like before we think it was Rob's email you know picture we're gonna do the same thing with a huh dynamic range so we're gonna pull down our highlights and down the whites in that slider bear in mind this is overexposed we can't do much with it so what I'm looking at is inside of these apartment buildings and office buildings whether we can pull those highlights back because I know I'm not gonna be able to pull these back if you start trying to chase this highlight to pull it down you're gonna end up even if I play with exposure and pull it all the way down you're still overexposed in that area so don't worry about it too much okay so with that all done we have got a keystone effect that we've got to fix here so very simple let's first off make sure that it's straight so we're gonna draw a little line across the river front and we hope that the river is level okay that makes keystoning a lot easier if you start off from a straight image so let's go from this one here and always use a building if you can assuming the building is treyton level if you do shots architectural e in places in certain places in asia you're gonna find the buildings aren't always completely level so be careful with that but let's just go there it looks pretty good one telltale sign for whether or not you've got it right typically these lines should mirror each other as long as you took the shot relatively level let's hit apply that's looking pretty nice one thing to check on this is go onto your Keystone amount and make sure that that's set to a hundred if you want it to respect it absolutely if you're not too worried about it or you want some artistic interpretation or more important if you're looking down or up to keep some of the perspective feel capture one defaults that Keystone amount to 80 but if we want it head-on absolutely straight and level according to what we've done the Keystone lines - then you absolutely need to go into this panel and make sure that's set to 100 okay so with this I like the sky up here but I want more focus on the city so I'm gonna pull up burst off the blacks maybe not blacks maybe we do highlights there we go and what I'm gonna do is recruit this a little bit to actually be two by one to there what I tend to find is as these trail off that's fine but I start to ignore some of the city because I've got so much light and reflection down here - look at that I start to ignore actually what was making up the city in the first place so I put this riverfront probably on this third line here and go to there and then actually we're pretty good in terms of sharpness we're pretty much spot-on we can always in this case add a little boost with clarity just be really careful how much you use tiny bit of texture but bear in mind text is also going to pull up any noise and then if you want to make this fall off quite nicely then what we do is we add a new gradient line up here and if I hold down the shift key it forces it to be at 45 degree increments and with that gradient I'm just gonna pull down our exposure there new gradient so call this one water that's when to the wrong wrong that was a cool little shortcut I didn't know existed okay so we've got water for this one and this one we're gonna call sky with our sky we are going to do another gradient with the shift key down to make sure it's completely level and pull our exposure down to and that's it so again let me just clone and replace so there's our original that's our final the the white balance is entirely down to you so in terms of how you interpret it we could go warmer with this we could go Pinker we could go slightly cooler we could go a little bit greener probably not but that's genuinely for you guys to play with t2 whatever you decide is the right feel for this image when you shot it so the that's the difference between these two we have got one more image we can probably fit in which is one from Wolff let's have a look at this one so this one is a lovely image it's it's absolutely wonderful a lot of history a lot and the key thing out here is this mist coming in over here in the distance so it's it's shot really well it's exposed correctly we can see that from the histogram there's only one thing that I feel uncomfortable with in this shot which is actually the the positioning of the shot in terms of this tree here being cut off at the top and yet we've got all this spare space down here in the reflection so with in absence of being able to look up a bit more and I don't think we can I don't think it's crop too much up now I'm actually going to switch this to be a two by three shot rather than a medium format esque three by four and I'm gonna come into there now that may feel weird because I'm cutting off detail that we had but the key thing is where my focus point is and I wanted to be down here I don't want the person just clone as you can see the difference I don't want this to be my focus point down here and at the moment this is the heaviest part of the image so to me this then starts to draw the viewer up to here again really really simple changes on this one so we're gonna use a gradient mask and we're just gonna pull that down from the top here with our gradient mask I'm actually gonna do a little bit of a color edit as well so we're gonna pick on this blue here and we're gonna make the blue a little more blue rather than this like green tint that we've got up there as well so there we're gonna saturate it a touch and bring down the lightness okay so if I do it before and after you can see as before you see how it's looking slightly yellowy green now compared to now after it's a bit more solid blue a bit more sky blue and then we're also gonna use that same layer just to pull down or exposure a touch now it's also gonna have the effect of making this mountain come alive a bit more next up so we'll do that one a sky next up we'll do foreground and with our foreground very similar we're gonna do a much softer fall-off of mask but I'm still gonna have a mask in here and with a mask we're gonna pull down that exposure again typically speaking the reflections are always gonna lose around about half the light of what so I'm actually reflecting when you even when you've got a completely mirrored piece of water so let me just look there's a quick question to come up so Jim would you clone the highlight in the center of the mountain and in the reflections it draws the eye right to it do you mean this one here and this one here if that's if they're the two that you mean Jim I'd I wouldn't simply because they're part of it and it's actually part of the light that's reflecting the mountain what we can do though is something slightly different so I'll show you that in a second so with this one we're going to pull our saturation up a touch pull out contrast up a touch and pull that explosion down a bit more again okay so with these two I sort of agree they distract a little bit however got quite a bit of 200% there but yes on the reflection okay so with these all I'm gonna do is draw just grew a new empty layer so clicking on the plus without holding it down gives me an empty layer reflection fix and I'm not sure it's a case of necessarily fix it's just I haven't got the right the right word for right now still our opacity there and what I can do is choose this part here and we can use our fun friend that we haven't played with yet today the luma range so let's display that mask and we want it to affect all of the lights there down to there and I'm gonna put a nice soft radius on it so we're not going to notice that done that with the lumen range and apply and with this mask we can pull down our exposure a touch there not too much okay and then we can do the same up here so I'm gonna do a new reflection fix sorry the mountain fix up here and we're gonna also actor in this one too so with our same brush let's just pull that one in there I'm being very rough here I'm also conscious of time for you guys so into there and into there I'm just adding layer upon layer where I want it to be more and less affected okay with our loom arranged we're going to make it up to the top and down to there with a really soft fall off so again it was a bit more subtle where we've done it in fact we can go even tighter on this one as it is literally the white parts of it like that apply and then with this one we could pull the exposure down again just a touch and then up here we would have to actually erase the bits of the master we could do a rough or a fine line or a fine mask sorry but in this case we're not gonna do that for time so there's our fix in there so it's subtle it's taken the two down so if I do them back there they're a bit brighter I wouldn't take them down any more than that if at all but in general it goes from that which is got a lot of focus and emphasis down here with that one up there so David said yes oh good good point David so shouldn't the reflection be consistent with the real images hearted Jostens exactly and that's why so number one I've done that change on both the original and the reflection down there but to be honest it's the biggest thing that I can catch people how where they've tried to remove something and they haven't done it in the reflection and be careful the reflections not just water it can come from the glass of a building or anything like that so be very careful if you are gonna change an item in a scene be aware that you might find a reflection or a shadow of that item I know a lot of those Photoshop fails that you see you've got the same problem where someone's changed their body shape or whatever but the shadow gives it away go in them okay so Jim sorry don't mean to be a pain knows it's actually a good point it's raised a good point so in general though this overall image as I say it's a really really nice image it's just to me and what I would do overall it's just bump that clarity just a touch bump the exposure and contrast a tiny bit and give it a bit of a saturation boost maybe and then just a slight tweaking color to there but it goes from there to there and the biggest change we've made is the crop because I just don't want the all of this heaviness down here to be the the the main point of focus for the viewer I want them to be drawn in down here into the river okay so that's it let me just one final question so mark maybe some clarity in structure into the mist potentially yep so let's just have a little look down here at the mist we could do a very quick layer so an empty layer call it fog and we're just gonna do a brush here and just for the sake of time just gonna do it very roughly so you can see but out here in that fog so with that mask done and we can be rough with the mask on on clarity let's just put our clarity up and structure up a little bit just to get some focus out on those trees and they pop a little bit more don't overdo it because obviously it should fall off and out of focus as it goes further into the distance in this particular case but yeah overall it's a really nice shot and all we're doing is just taking the focus away from this empty space down here and up to there okay right that's it to do Vegas so that's new pressures long remember as well you've also got access to those new pro tips things that are on the YouTube channel so they're sort of between 15 the biggest one is duties 29 minutes but 15 to 20 minutes typically they'll cover each of the tools in depth and we're keeping adding to them all the time they're free download and have a play upload pictures that you want edited for those people that we haven't got to your pictures yet if you are let me just switch back quickly Dion Mac Rogan Jack Winnie Oh Jose Jose or William we are coming to you next time but if not if you're not on that list then it means we haven't either selected all we haven't necessarily got your picture so please get in touch just go back to that tool or email us at these addresses so live at poori for calm I'll get through to us and we can chat and have a look at what images we're going to edit so hope that's all good for today and we'll catch you on the next session cheers everyone bite you

Channel: Paul Reiffer

Views: 7,416

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, HDR, Tools, Effect, Filter, GND, Graduated, Masks, Punch, Natural, Neutral, Histogram, Processing, Gradient, Support, New, 20.1, Features, Layer, White Balance, Q&A, Auto, Profile, Lens, Luma Range, Wildlife, Landscape, Reflections, Cityscape, Highlights, Shadows, Fuji, Fujifilm, Film Simulations, Linear Response, Curve, Editor, Color, B&W, 20.1.1

Id: fzdIDawa8b4

Length: 65min 28sec (3928 seconds)

Published: Thu Jun 18 2020