Live Editing Sessions - Capture One 18th November 2021 (HDR, Exposure, Noise Reduction, Keystone)

hello everyone welcome back um well not welcome back for you welcome back for me um because i've been away for a little uh a little while um so welcome back um we're back on and we're going to do the next hour of live editing like we always have um so we've got a lot of allen's on today we've got allen in england down in somewhere else coming where alan in australia island and somewhere in america i don't know but i'm quite proud of the fact that we're keeping everyone up from people in australia to people in the west coast of the us and everywhere in between um so sorry to those of you that it's a bit unfortunate in terms of time i don't control gmt unfortunately um but yeah we're not gonna i'm not gonna broadcast the middle of the night sorry um or maybe we do one day anyway speaking of which uh before we get going um just one thing keep an eye out over the next couple of weeks because we're a little bit stupid um david and i are gonna go for another live broadcast um nowhere near the coast uh we're gonna use a rooftop not that rooftop uh but one that's very very similar um so yeah over the next couple of weeks um feel free um to tune in you'll see it on capture one's channel um it'll be the david and paul show again we're going to show you some new stuff uh hopefully um so we'll be up somewhere um up nice and high um taking some pictures but also editing them on capture one and hopefully it won't rain it won't be a ridiculous storm out of the blue and you'll get to see some really cool stuff so keep an eye out it'll come up over the next couple of weeks um but in the meantime we're going to spend the next hour as i say editing capture one here capture one being the raw processing piece of software made by the guys in denmark capture 121 is the current version so if you are on version 21 make sure please that you update to that version which is 14.4.1 for those of you that are interested are on a mac um then 1441 does work on monterrey um i'm running it today on 12.0.1 i think it is on mac os monterey moderate it also works on windows 11 builds so a lot of changes that were done in 1441 um for extra support of stuff but also operating systems and this is the one that has been checked to work on monterey and is fully supported previous versions if you have a problem on the latest operating systems you may have to look at upgrading your version of capture one first before asking or reaching out for support so if you don't know how to find out the version you're on in capture one you're going to go to the capture one or menu or the the about menu and pull up the little about screen which is the one just above my head here and if it doesn't say 14.4.1 then you're not in the latest version it is fine to be on version 20 which is technically version 13 or before you'll be able to follow along with most of the stuff that we're talking about today but uh for most of the latest features as well as operating system support you need to be on the the very religious version if you're on a subscription that's included that's what you pay for that's why you subscribe if you're on a perpetual license you've got a choice of upgrading but just bear in mind that around the corner pretty soon is version 22. i know there were some offers where you'd get version 22 um included in an upgrade price so have a look at those but that's the version we're going to be using today and if you don't have it at all never heard of capture one then go to captureone.com and download a free trial it works for 30 days they don't um they don't restrict you or anything like that so off you go enjoy and let's get into our pictures so today's images um we've got quite a collection actually um we've got a similar theme in terms of some of the exposure stuff but um we've got some very very different pictures today starting with george um so if we go into georg's image there was actually a a crop um that was done on here already so this is actually um george's existing version if i press the y key on the keyboard i get my before and after split so i can see before after and what's been done but if i go to my crop remember that before and after in capture one which is also this button up here on the top will only show you the final crop that you've chosen it's designed to do that um so you don't get confused if you want to see the full image you need to go into your crop tool up here and we can see that gill's actually cut some of this stuff off already and i think this in part comes from the question that came in which was about overexposed areas and bright areas in the sky if i look at this second example here we can see up here um let's just zoom in you know these are incredible trees it's stunning the the level of detail in here but the sky is blown out and of course it's blown out compared to the darkness that's going to be in the forest so if you've got a camera with a great dynamic range it's going to be possible potentially to pull this back but on most cameras it's going to struggle with this level of difference and let's just do an example so if i take our exposure which at the moment is zero and bring it all the way down even though i can get this away from white so in other words this was two five five if i go to my exposure warning up here so let's just turn our exposure back it's warning us that we've got some exposure here or overexposure here but why isn't it warning about the sky well it's because none of these are now if look at the top numbers above 255 which is what i have my exposure warning set to why are none of them above 255 well on our basic edits georg's pulled down the highlights minus 68 in hdr so if i were to reset this we'd see the sky is absolutely blown out these numbers here if it's above 255 on any of the red green or blue um channels or overall as it is if it's above 255 on that it's going to give us an exposure warning now that warning threshold is controlled within your preferences so if i go into capture one's preferences we'll see under exposure where my level is set to and i have mine set two two five five by default it's a little bit more conservative it's down at i think 250 or something like that to me i want to know if it's clipped or not i don't want anything um guessing for me but these are above 255 which means that it doesn't matter if i try and pull down our highlights even to -100 it doesn't matter if i try and pull my exposure down to three stops under there's no detail in this sky and the reason i know there's no detail in the sky is because as i move my mouse around well not only can i see there's no detail but i'm also looking at these numbers at the top and seeing that the red green and blue they're all the same they're all in sync they're all you know one hundred one hundred one hundred and ninety nine ninety nine ninety nine and so on which is telling me there is no variation at all um in any of it even if i was struggling to see so just be aware that the recovery can only recover data that the camera actually saw in this case here these highlights were completely blown now interestingly the default let's just pull our high dynamic range back the default here on our exposure of zero had this tree pretty well exposed there's no issues here it's not even in shadow so in retrospect if i was looking at this shot again i believe that actually we could possibly i'm just looking at when the tree still has detail so up until about two stops down we still have quite a lot of detail in this tree i think you could have possibly got away with shooting this two stops darker so your camera is going to say oh the scene's a little bit dark but that would have allowed us to maybe maybe protect some of these highlights up here and then what we'd do is we'd lift the shadows up in the tree so in this case here i think there was a lot of latitude to allow the shot to be taken a bit darker which would have meant that we could have brought up the shadows but not lost the highlights as a general rule you can always bring back detail in a shadow once a highlight is clipped you've lost it now the downside to bringing up detail on the shadow is unfortunately you're also going to bring up noise so it comes up with it if however the highlight is clipped there is no noise to bring back it's not like it's going to be an ugly recovery so bringing up noise into a shadow you might have to fix that but you've still got detail in there if you have something that's clipped as a highlight beyond the dynamic range of the camera it doesn't matter what you try and do to pull that back the data's gone it's blown so as a general rule i would always be in a place of exposing to ettl or exposed to the left rather than exposed to the right interestingly enough in this scenario because although we always want more signal so in other words exposing to the right effectively if we're in this scenario here where i've got a high contrast scene and no ability to filter it hdr is not going to help me here because the leaves will move a filter is not going to help me here because the highlights are spread throughout the scene what i actually need is the ability to shoot slightly darker and retal retain or maintain all of those highlights with the risk that i'm going to bring up noise in the shadows but bringing up noise is better than losing the detail um brian's just said linear response curve so yeah let's have a look so i'm going to go to our background i'm going to go to our standard setting so our color tab in capture one and at the top you will find under base characteristics this is set as auto as a curve what brian's referring to is if i switch this to linear response linear response is a flattened curve so it doesn't take the highlights if i go to my curve quickly so if you imagine an auto curve sort of does this it's not quite but it deepens the dark areas of the image and it brightens the light areas the image so you get higher contrast in the shot well linear response doesn't do that it keeps it flatter but still you'll see in here there's there's just no detail there's nothing in there and that's the issue so genuinely on this one it's one maybe maybe actually head out there again and just see what your camera is capable of doing see if it can pull up the shadows a lot better than um trying to to pull back highlights that are completely blown however this shot um if i turn off our exposure warning yes we've got a couple of little hot spots in there but georg's already removed this bright spot here i don't think that's a bad call at all um i think it's possibly worth keeping some of this to the right because i kind of like this branch here um so if i go to a three by four crop can we get a bit more in yeah possibly so maybe we go to there you know yes we can be worried about that but it's so minor i wouldn't worry about it too much i'm going to go back to our basic edits tab so this is what um gyorg's done i'm just going to clone that variant so i'm going to make changes on this version of the shot georg's original changes are on this one this version means that i've got a separate variant it's not affecting your original we can compare later so let's just have a little look if anyone heard that was a really loud alarm on a car going by right um let's have a little look at our area up here so what i am going to do on our basic edit so separated out the background layer from a layer with all the edits on it's a good idea because it means that we can always pull back some of this information here and yes joe there is a sign on the bottom right we're going to deal with that in a second as well so basic edits is a separate layer this is a filled layer so in other words everything on this layer is completely applied so it's 100 filled layer so everything that i'm doing is going to apply to the background as if it was on the background now with this up here i'm just going to pull those highlights down and i'm going to pull the whites down as well again it's not going to bring back any detail but it's just going to lower the level of that white to be a little more soft so maybe it's not quite at 255 all the way through we may be able to just pull back some of that contrast the rest of the shot though oh in fact let's just do that very quickly now so our sign here um fun one actually we talked about this a couple weeks ago um the heel brush choosing an area outside of the frame so here's the problem uh let's go back to my crop and let's just zoom out a little second so here's my crop let's imagine i try and do a heel brush here and look capture one has chosen an area outside of the crop so how do i get access to i guess the source point and change it how do i move the source point around well i'd actually have to go back to my crop undo the crop move the source point back in then redo the crop which is really annoying so instead of that let me just delete this heel there i'm going to create a new heel layer if ever you know you're working on the edges of a cropped image and you know where you want to take the source point from just choose the source point manually yourself and the way you do that is the option key or the alt key on windows so let's just zoom in here so i'm going to go back to my heal tool which is q on the keyboard and i'm going to hold down the option key and click here that sets my source point now capture one may have chosen that source point automatically anyway it may have got it right but if it was likely to go outside of the frame if it was likely to choose an area that's in the crop by doing this i'm forcing capture one to use the area that i wanted to use now in here we've got to be a little bit careful about blending because we don't want it to look out of place but that's done a really good job there so there's our sign gone oops sorry let's just switch to our zoom nice and easy um now let's have a look at the overall feel of this so what i'd be tempted to do with this is do a little bit of color grading but also a little bit of darkening and lightning now capture one in version 21 came with style brushes some of them built in and we've got a burn and we've got a or are we dodge brush that i can click on and it'll just do that darkening or lightning for me of course i can create a new mask to do this and of course i can do it with the tools but these things will create a layer automatically they will make a small change it's a low flow brush um let's just make it a bit bigger so with our brightening area i'm gonna possibly just brighten up some of this color here just creating a little mask and you'll see on the left hand side it's created this dodge or brighton air layer sorry for the style brush and i'm just going to brighten those up there to create more contrast in this shot we need to darken this tree so i'm going to go to our burn brush and i can change the size if i want to i'm just going to make it a bit smaller and with our burn brush i'm just going to add some darkness onto the tree now this sounds sort of around the wrong way in that we want to see detail right we always we always want to bring detail back into a shot but in this case here how am i getting this tree to be the subject of the shot well it's by making it uh contrast with the rest of the image so with all that done if i look at my mask now it's going to be horrible i'll show you so let's go to our mask up here and say display grayscale mask that's a horrible mask it's not very accurate at all it's not doing a lot but what it is doing where i have masked is just adding a 0.2 exposure drop tiny drop just turn off my mask again up here and then i'm going to go into my color tool and i'm going to go back to georg's basic edits layer because i want it to apply to the whole tree or the whole frame and in our color balance let's just make our shadows maybe we make our shadows a bit cooler almost for the greeny sort of side and our highlights a bit more autumnal that's kind of cool mid tones maybe we bring it bluer slightly let's just have a look maybe there so three very minor changes shadows to be more into the greeny sort of color we get this nice now that the tree's nice and dark we get this nice uh green tone to that the mid tones to be a bit cooler and the highlights to be a bit warmer if you want to do that with the style brush selectively then strangely let's go to our style brushes and under color we've got a balance warm and a balance cool what those two brushes do is alter these really easy so with that done i can now now if i go before and after i can look at the original before and the original laughter oh sorry the new after but because i made a variant before i started playing with these two i can now go back to keyorgs and i can compare it so if i hold down the command key on a mac um i can then compare left to right the original from georg and the new version that i've created here you'll see it's really really subtle changes all we've done is lifted up some of the foliage and darkened down that branch but it makes the difference is the original if you look at how bright this is here and how lost it can end up this just adds in that extra contrast now if i don't like it if i don't like how dark some of this tree is well i can go back to our burn layer because it's on a layer because the style brush created a layer this is really easy i just reduce our opacity down so i can have no effect or full effect and we can settle up maybe there that sort of works as a final touch if i want to let's go back into our exposure tab which is where most of our our changes are going to be go to our basic edits and we can pop a touch of contrast in there and a touch of brightness so the reason i'm adding that touch of brightness is i want to actually lift even though i've added contrast which splits the histogram a little bit makes the brights brighter and the darks darker i'm now using brightness to lift those dark areas up overall if i use exposure remember that work that i did on the right hand side that becomes pointless because everything i brought down exposure slides back up brightness doesn't do that it doesn't slide the histogram left and right it squashes it so it lifts up the shadows it does brighten the rest of the image but it kind of stops at that wall it doesn't actually push it off the end and overexpose and that's it so on this one georg uh honestly give it another go um see if you can under expose in this shot because you have got huge amounts of detail in this tree with with no exposure change you know let me put that shadow back you have the ability if i go to the darkest parts of this tree and look on the orange line on your histogram as to where that's falling you know it's not quite off the wall there are some areas that are but they're literally um in the shadows you could go a little bit further you could darken the the exposure down and maybe i i can't guarantee it maybe the sky is just way too bright but maybe you could get some detail back in that sky um so yeah that's sort of where i'd be with that one um where are we george different george uh i hesitate to process my global adjustments on a layer like this i've seen somewhere that some curses have a different impact of applying a layer rather than the background yeah so some things um in capture one you cannot do on a layer so if i go to our or georg's basic edits layer just hide that comment a second you'll find that things like color noise reduction single pixel don't really work well they don't work at all on a layer um black and white conversion tends to be global it tends to be on the background regardless um film grain uh you can do i think but you can't yeah you can't change um some of the parameters on some of these on a layer so there are some things that you need to do on the background layer but in general for most of the tools that most people use um you don't need to do it on the background you can absolutely do it uh on a on a layer that's just bear in mind the first thing to do with this layer just turn the mask on is fill it so when you go to create a new layer you can either hold down on the plus sign and go to filled adjustment layer or if you accidentally just clicked it and you created an empty layer i right click and go to fill mask i have seen someone create an empty layer realize it wasn't filled and then brush it for a long time i'm not really going to make you watch me do that but you don't need to do that you just right click on the layer go to fill mask and it will fill the entire layer with oops oh sorry because i've created that mask but if i need to fill the mask from the beginning just go to fill mask then it will fill the entire layer um and then your changes apply everywhere um jim sunlit leaves on the bottom right are a bit of a distraction do you mean this one or this one not sure but either way um then we've got our darken layer so if i go back to my style brush um so i can either go to a star brush so i can go back to my burn darken one and it will select the layer for me or i can go into this layer and after all this layer is basically just a mask and i can pull this down here if i'm specifically looking at this area here i could create a new mask and call it right hand leaves and let's create a in fact we won't do exposure we'll do it with highlights and white and i'm going to create with a brush a low flow and just in fact pull that flow up quite a lot and just darken down those highlights a little bit just bear in mind when you do that you're probably gonna give the impression of saturating those areas of the image um so it will reduce i guess the uh the amount of highlights that you see um but not a huge amount to me i think it's okay that kind of works okay let's go on to francesco's shot so this one in a case this is francesco's edit it's a jpeg uh and we've also got the raw file here so the cr2 so this is out of camera this is the edited version and again you can see the same theme we've got an exposure challenge in this one um i don't believe for a second even if we had shot darker you'd be able to recover that level of range this is one where potentially hdr might help you or we just accept that there's a massive great big ball of light in the middle of the shot if i bring up our shadows we can see what i mean about um bringing up information but with noise here so this is what happens if you bring it up too much if we bring up too much of the shadow we get all this noise as well as the detail you know we can we can see a lot more in there let's pull up just shadows alone and black so we can see there's more stuff in there but as we do it we're bringing up noise that's not particularly nice so on this one we may do a bit of shadow recovery but we are not going to be able to get that different settled and the same thing applies if i move my mouse over here look at these numbers at the top you know two five five two five five two five five there's no information here if i turn on my exposure warning surprise is going to tell me it's exposed for your reference the blue areas are the bits that are underexposed so a lot of people forget that the exposure warning in capture one comes in two variants overexposed and underexposed or the shadow warning this sometimes is not enabled if you enable it it will tell you depending on which value you put in for the slider whether something is underexposed so in other words there is no data in that pixel it's a zero so in this case here you know if i pulled up our shadows the blue starts to disappear up the black where blue starts to disappear down the highlights down the white then we get to a place where all those warnings have disappeared but you can see on there that even though the warnings have gone technically these items are no longer 255. they're you know 227 on the top there's no detail in it and the same with these shadows so there does come a limit where you're just bringing up noise you're not you're not really bringing up anything other than data that you don't want um so be careful that you're not overdoing this but those warnings can help if you're worried about missing something in this case here we don't need a pink blob to know this is overexposed but let's just pull back our highlights we get some of the leaves back let's pull back the white and we get some of this back we get some detail so in this shot here it's not going to do much harm to leave those sliders at a negative value just to pull back some of this information what you will get is a bit more i guess of a digital look around these leaves so if i go to without you see it's a more soft fall off with as it started to try and claw back those highlights you get this sort of very binary edge so i personally would probably go to around there and no more and we're going to accept that that's a great big hole of light and that's what we're using so with that done we've now got a look at what we do with the rest of the cave um where are we francois so sometimes when the sky is too white gray and there are no details in i put a luma range and change a bit the white balance um yeah so yeah it can work so let's let's just do what france was talking about i'm going to create a new layer um and on this layer i'm just going to very very quickly put in a solid uh brush over here this mask and what francois is referring to is the luma range so if i choose my luma range on here and we're going to see the capture one calculates what area it needs to cover and i'm going to say everything that's bright but not stuff that's too dark so i only want to capture the very very brightest part so the sky effectively and a soft fall off because if i do this you're going to get a very very hard line where it's in or out at 232 so i want to say anything 255 to 232 including the mask anything from two three two this one here down to 201 or 198 now slowly fade out so you get less and less of a mask so 100 mask 50 mask 0 mask i'm gonna add in a little bit of radius just for smoothness around the edge and hit apply and what francois is talking about is with this mask here we could then pull down the exposure and change the kelvin now i'm overdoing it please please don't do exactly what i've just done but you get the idea you can change this to have a little bit of a hint of a color in it you could make the sky warmer or cooler so if i reduce that exposure by maybe you know two-thirds of a stop and cool it down do we get a slightly more interesting look because it's now more blue than white maybe um it's your call i'm gonna leave it in for the case of this this edit but that's your um that's your shout to to decide on uh and another one david um so there are a few hot pixels in the shadows let me just check whether they are indeed hot pixels or whether you're referring to the exposure warning which is this um so the exposure warning being on is going to do that if they're hot pixels we're looking for as one there these little red green or blue dots normally they come out as red that's a hot pixel so that's with high iso or a long exposure or a hot sensor lots of different reasons and for that in capture one you have a little tool which is the single pixel suppression tool so it's under noise reductions you'll find on the details tab on the left hand side this is one of those tools funnily enough just talking about it on the previous image that you can only do on the background so with the background we can turn up our single pixel until that red dot disappears which doesn't need much only needs a value of two in this case and the red dots and there will be many of them i'm sure around the uh around the the file um will have disappeared now one thing to bear in mind when you zoom out to anything less than 100 now you're probably going to struggle to see this on on youtube but people get caught out with this they do the single pixel reduction or they do noise reduction they zoom out beyond 100 and all that noise reduction and single pixel stuff comes back the reason is because it's still relying on the original preview once you go into percent or more then capture one is redrawing from the raw so noise reduction sharpening single pixel halo suppression please only do those changes at 100 or more view you cannot do them zoomed out because you're viewing a preview and that preview is not going to give you the update based on those pixel changes but in this case that hot pixels gone if we were referring to all of the blue hot pixels they're not hot pixels they're um areas that capture one has decided are below zero in this shot so turn off the exposure warning that disappears as well so with the shot overall there is one thing that is bugging me which is this i know we're in a let's call it attraction of some sort i think it was azores or something um francesco said um but i know that this is natural well natural i know this is artificial lighting it would be nice if it wasn't there because it does sort of ruin the effect so just like before i'm going to choose an area as a source so the alt key or the option key and then draw my heel area here and we're just going to get rid of that light maybe like that got a choice with this bit of fern here i think i want to get rid of that as well and we've now got less of a distraction we could also reduce this green down here but um for now i'm pretty good but to me that's just it kind of ruins the effect a little bit i know it's there i know it's in reality but for this image i don't think it's going to help um what does st say sorry i missed one of the comments assume there was details in the sky should we focus on me to that area and try and bring up details inside the cave yeah tough one um so if your camera has the dynamic range to do it i would meter on the sky and come down maybe one or two stops reason being the camera probably has enough range to be able to pull back one or two stops of highlights maybe three in some cases and you're gonna be able to pull up the detail in the in the shadows if you don't have that much of a range in your camera in this particular shot you're gonna have to do maybe two shots maybe three and blend them using hdr funnily enough which is coming in the next version of capture one personally i'm a big fan of relying on the camera's dynamic range simply because i don't want to create an image that could not have been seen and then that can be interpreted in different ways i know but couldn't have been seen by our eye obviously our eye is very good at effectively blending in your brain the over-exposed area in the underexposed area and it gives us a complete image um the camera doesn't do that um whereas a bracketed exposure can so yep you this is a case where hdr may help but i would tend to it actually i'll give you the different answer in this shot i would shoot it three times regardless of hdr one metered as the camera sees in the middle um in this case here that's going to be somewhere between this darkest part and this lightest part it's going to try and aim for middle gray then i would push it a little bit brighter then i would push it a little bit darker and in your software then see what's going to be better pulling down the highlights from the the brighter version or pulling up the shadows from the darker version and see which one gets you more um more information so it's a bit about knowing your camera i know what i would do on my camera in this case because i've played with it in these scenarios so you kind of need to play with what your camera can help you get away with and that will determine whether you're going to push it to the right or or pull it from the left um either way but play go and play that's the fun part so uh that's our heel layer done um let's go back to the cave overall so i'm still on our exposure tab here and i'm gonna create a new layer a filled layer just like we talked about before and we're gonna call it bass edits um this layer being the sky hole let's call it that um so our bass edits for neatness i would put it at the bottom remember that your layers stack remember that they're completely non-destructive so it doesn't you know you can move these layers around it's still going to have the same effect um but it's just a bit neater to have the base edits at the very bottom near the um near the background so those base edits let's pull up the shadows a bit not a huge amount if we pull them up too much we're going to end up with all that noise we can pull up the black slider a bit and we start to see this noise encroaching into here because this is noise that's generally just around the outside and again with noise just like i said i don't know if you can see this on youtube this doesn't look very good right now when i zoom in to beyond 100 you can see it's a lot cleaner and the reason is because it's redrawing from the raw rather than using the the preview so in this case here this is going to sound weird but having brought up the black and the shadows i'm now going to use a vignette weird to darken that outside area just to distract from the noise that's going to be brought up with it these areas up here i'm not sure they are actually hot pixels they look like they're reflections of something or lights it could be um i don't know headlamps or something like that i don't think hot pixels is going to fix that um something it may be just gaps in the in the uh foliage or so so with that done i'm going to go into our color editor again color balance we like this tool um and we're going to cool down the highlights actually and we may warm up the shadows in fact let's go more green blue with the shadows that's kind of cool with our mid tones well we could cool that down that looks kind of nice so down into this sort of blue area and the highlights i'm just going to pull up so they're a bit warmer maybe into the sort of pink scenario brian's saying water drops maybe i can't help think that these aren't gaps this one doesn't seem to because it's a line that one almost looks like it is something moving it could be a water drop that's picked up from this really bright light it's not a bad call um i know things like up here this seems to be i was gonna say it's gaps yeah maybe it could be a bit of a mix um but if you wanted to get rid of them of course you use the healing brush it'll do that you used to be able to use the spot removal tool for this stuff honestly i'd just use your healing brush for the ones that are really distracting the ones that aren't i'm not sure i'd worry too much about them that gives us an overall feel that i'm kind of happy with but then i think about styles so if i go into our styles pack uh what if we play with a deep forest style uh that sort of washes it out no so let's go to my favorite ones let's go back to nordic because i like these um and oslo has kind of got that nice blue feel to it so this is an oslo style that's without that's with it's too much so instead of applying it to the overall image i'm going to click on it or right click and go to apply new layer that gives me a new layer in my layers block here called oslo 1 and i can reduce the amount that it's affecting it by so from nothing to full and i kind of want to come up a very very subtle amount maybe to there and that sort of does it so i would personally have it end sort of there because i think it just needs to feel this is going to sound weird but a bit damp it needs to feel like it's a cave which typically has cooler light um than the original edit here from francesco but again i wasn't there you were um so i would rely on your eyes rather than mine but that's how i would take that edit uh let's just switch our crop a little bit to very similar to where you were at so it's an easier compare so we go there to there if we do want to bring up any of these areas in here be careful not to do them as a general overall change with just this big dynamic range change what i'd do is i would just either use a style brush or do it on a separate layer but for ease let's do it on a style brush and let's do a recover shadows style brush you can guess what that does let's just really soften it down and it's gonna specifically target certain areas you can see what style brush does it's just in here it's a 100 shadow recovery um with a little bit of black um pull down that's to keep some contrast in there but i can pull out specific parts of the cave rather than the whole image which would apply if i did it across the whole layer and remember because it's attacking shadows and not black it's not going to touch the areas that were actually so dark we don't have any detail in it again if i look at my layer that's not pretty but if i look at what the what it does if i turn that off and on you can see it's almost like shining a light into those shadows without bringing up too much detail and so much that you end up with a huge amount of noise um david can you not regenerate the preview after making adjustments to see the cleaner version yeah so if you go to in capture one uh go to image and go to regenerate previews yes it will force capture one to regenerate or regenerate the preview but typically i'd still encourage people to do all that work at 100 not just for the preview version but actually because you're able to see exactly what noise you're getting exactly what sharpening effect you're getting and exactly what um what pixels have been removed so i wouldn't rely on the zoomed out version but yes you can regenerate those previews after you've made changes so that's francesco's let's go on to claudia's image from stair hole and this is the one that i gave him uh a bit of feedback on last time about cleaning his lens um and i note actually claudia let's just go into clona variant um where was it he's yeah this one the heel there um so there's a heel layer over here and that heel there is to hide um this bit which actually isn't um i don't believe that to be dust it's just um or dirt that's just part of the natural lens flare and also down here there's a red boy of some sort down there so that's what the heel layer is doing these little spots down here are remaining still so they're on there but that wasn't the question the question was um how do i stop the village this is the village of lowerth um along with cove um all the little cottages from falling off it feels like they're sort of i guess leaning down and if you look at architecturally i'm pretty sure that building wasn't built that way it was probably built straight and what this is is it's coming from a really really wide lens i think you said it's a 7.5 mil lens um on olympus from memory but um obviously when you do that and you get our our distortion from the lens things that are nearer to me and towards the edge of the lens start to fall they start to feel like they're falling down like that the horizon um it's interesting you said this straight hmm not sure i agree i don't think that i don't think that's quite straight but um it's not far off i just think there's a bit of a bend in it um i know the cliffs don't help but the horizon sort of starts here but then by the time it gets over to the edge of the frame here it starts to bend down a little bit um so either it's slightly leaning to the left and i think that may be part of the case or we've got a bit of distortion going on in the lens now because the lens isn't recognized by capture one we've got a an issue that we can't really do much in the way of distortion um to that particular lens but we can do a generic change so i'm just gonna up that edge a little bit and that will also help some of these buildings too but it's not going to help it enough and if we really want these buildings to be straight what we've got to do is a keystone or a perspective correction to it now this is where you have to make a decision because whenever we shoot um with a perspective distortion to correct it we're going to lose some content i can't fix that i can't change that so because capture one needs to pull at different directions and pull in different angles to fix that pull of this building so if you imagine if i draw a straight line from here through the building and follow the line of the building we end up here so in other words in order to get that building straight i've got to pull this area of the left the bottom left out of the frame out to the left when i do that i'm going to lose all this content on the left because it's going to take this point here as the top corner that's anchored i'm going to pull everything here off the frame in order to to even up or straighten up that building so maybe there's a more subtle way of doing it than the complete keystone correction which is maybe with a horizontal one so what we can't do is fix this with a rotate so let me show you why if i go to our straighten tool and draw a straight line right across the village so let's make that building straight like that so look at the dotted line it's right across the windows of that building quite even quite straight along and of course now our horizon is completely wrong uh let's not do that then so let's instead straighten vertically to the building here so let's go and follow that line of the building there same thing because the building is now straight great the village is straight but the horizon isn't the reason is because in this lens you've got such a pull such a distortion that things nearer to us unfortunately get pulled and and stretched in such a way especially when we're looking down on them as you are from this viewpoint here so instead we're going to use a horizontal keystone reflection or keystone correction we're also trying vertical in a minute in fact let's do that first so we can see so in theory this is a vertical problem if i look at that image there or that uh that building there i'm gonna go to the near of the side or as near to the side of the image as i can out to here and following that line of that house i'm having to guess a little bit because it's not quite big enough for me to get it right and i'm going to make an assumption that if claudio shot this shot level then i need to do the same on the other side to keep it um fair and even but i don't have anything to follow so i've now got to do it kind of by eye maybe there hit apply now we have actually a much more straightened village with some of this stuff here kind of works got a bit of an issue here on the horizon so i might choose to do that with the straighten tool instead let's go to there and then you start to see the see-sawing happen between well i've got one part straight and not the other part and this part's now straight not the other part you'll get carried away with that and you'll end up in nowhere it's not a it's not a good outcome so instead i would leave it with some interpretation of that lens we're not going to get this completely clean completely straight completely level with that style of lens from this vantage point with that field of view it's just not going to happen but i can say that well i know the horizon was pretty much straight and i need to effectively pull this on the right hand side to be bigger so the stuff that was in the distance to be bigger which will pull the image and effectively push this house away which helps me with that distortion so if i pull this up here and hit apply we can see that we start to get a straightening of that building there we get a bit of an issue on the horizon which we'll deal with in a second but that's not the biggest problem the biggest problem is i start to lose and look at how much i start losing of this shot so i can though go back to my distortion and really start to pull that up like that so that keeps our horizon hopefully a bit more level not quite so we're just going to make a little change around there just to there we've got our houses straighter they're not straight but they're straighter but we've chopped a load of stuff off so i may now have to look at a different aspect ratio maybe it's one by two maybe it's three by two not sure um but let's just see what we can do here maybe you go to i don't know there we're in a better place but it's still not perfect and this is the challenge that you start chasing so what we can do is a bit of a mix of both we can say well we knew we needed to pull that side out a little bit bigger not so much and we know that we need to straighten this line here for this house there and try and even it up there so let's hit apply there now we're in a better place and now if i go to our original aspect ratio having used the four-way correction i can get us to a place which is and i'm going to use the word very carefully better not perfect the house is still the building is still not going to be completely straight but the horizon is and i've got more of my image back and if i look at here with this real dramatic falloff versus here this just feels a bit more i don't know level even um less like it's falling into the village uh or falling into the the side here um but there are limits to what we can do that's the i guess that's the key point here you are gonna find every now and then a limit to what you can get away with and what you can push with keystoning as well as um with straightening and so on on an ultra wide lens that has a tendency to curve now with that i did notice there's one other thing claudio and you don't notice so much on this version of the crop but if i go to the original one one thing to be careful with with the heel brush is repetition you've used the healing brush on this layer here uh where i always get rid of style brushes so heel layer here and i've got our little uh mask up now if i go back to the healing brush and i can see the sources we've taken this bit here to heal here the problem is this is identical to here and it's going to be quite obvious so all i'm going to do is just switch maybe the source to something a little more obscure or it's nothing like things that don't quite work as you expected them to or remember i've also got a clone layer that can go on top of heel so don't limit yourself just to heal i can go to a clone mask and with my clone i'm going to put a lower opacity slightly bigger size and i'm going to choose a source and say from here and i'm going to paint onto there and you'll see i'm just blending some of the original oops we've picked up on the lens flare remember that your clone tool comes from the original raw data not from your corrected data a lot of people fall into that trap but you'll see that we've now blended a bit more um i guess randomness rather than just copying the original piece here and then placing it there which is what the heel brush did by default so just be careful with that um that when you do go to heal you don't end up in that tricky spot now with that done there are a couple of other changes i might want to look at on here let's go to our in fact let's create a brand new filled layer with our filled layer i'm actually just going to pull down the shadows a little bit just to get a bit more contrast in here i am going to punch clarity a touch more and uh on do i do it white balance no so with white balance we're going to shift the whole image across to warmer or cooler or pinker or greener but using the color balance tool i can choose certain areas so i can make our highlights nice and warm so a nice warm sunrise there we go it looks pretty nice our mid tones i can keep green so this nice lush green here and our shadows we can maybe drop that into a cooler or maybe even a warmer no let's go cooler a cooler c or area here like that if i go before and after with our color balance alone so that's without that's with you'll notice it's a tiny change the highlights have been warmed up that sunrise has been warmed the mid tones i may actually just warm up a touch as well and remember that i can also pull down the brightness or up if i want of each of these individually so i can make our mid tones darker or brighter so let's pull it down there and i can make them more saturated or less saturated but in this case we're going to leave it there but what i am going to do i think let me think i'm just going to put in a little gradient there so here's our linear gradient here so it falls off as we get to the top of this hill up here which i want it to i'm going to go to a loomer range just like we did before i'm going to choose everything that's dark and slowly fall off the stuff that's not like that so i've now got a selection that naturally falls off because it's a gradient as it gets nearer to the sun and it's only selecting the darkest areas out here i may choose to delete the ones i'm going to see in a second but with that i'm going to put in a lot more clarity into the rocks on their own i don't want to affect the clouds a little bit of structure and actually a bit of dehaze not too much be careful with dehaze you don't do it too much i can also if i want to warm up the overall white balance of those shadows too so we go from there to there we could put a bit of a tint on there as well and we can add in a bit of contrast if we want if we really want this to feel like it's looking directly into the sun we can play with that contrast but i've now got a layer that i'm controlling all of these rocks and dark parts independently of the rest of the shot so that's where i'd get to um this top part of the top we've got a decision to make do we want the sky to be a bit bluer or a bit more if i go to our original we had a lot more blue up there than we do now so i can of course on a new layer um let's just go to there and on our color editor i'm going to go to our basic color editor in fact let's just choose one of the blues out here uh that's the yellow stuff isn't it um and we're just going to pull down the lightness and bring up some saturation of both the blue and the cyan just to get that back we might choose to cool down that upper sky a touch not too much just to get some of that color back in the sky but that would be it um but yeah this is this is again it's about choices of what you want it to look like from my point of view that's probably where i'd leave it if we wanted to back away any of these changes well we can do that with our sliders here but you know the answer to can we completely fix this fall off here hopefully as you've seen you can but you're going to lose so much of that shot to do it in fact let's just do a new clone just to show you to actually fully fix that if i choose our line here for our four-way but i'm going to use that one out there and that one out here and i'm going to fully go into this line here and fully go into this line here and hit apply in fact let me just go back to our line here because i think that may be so noticeable 100 okay let's just go in there because it needs even more and this line here probably needs to be more like that um no i don't i don't actually think we're going to be able to get oh here we go here's the chase um i don't think we're necessarily going to be able to get it completely straight but even if we did you're going to lose so much of the image it's just not worth it stick with the fact that you have a lens that has that distortion have a little bit of distortion like in this version you know don't get carried away don't lose control of that keystone um but the rotate tool is not going to fix it nor is lens distortion you're going to have to use that instead um alan yes take multiple images with another lens and panorama stitch in version 22. yeah is the other option so use a longer lens longer focal length do your panoramic stitch you won't get as much distortion um but you are going to have some to be fair some challenges to bear in mind alan so you know with water that's moving as you're changing the movement um of that panorama you're gonna have that problem um you may have some challenges with the sky if these clouds are moving lots of stuff to to bear in mind but um it is possible to to fix it a certain amount you're not gonna be able to fix it completely but you can certainly get it to a a better place um in general uh i'm gonna switch quickly because we've only got a couple minutes left because alan had a really quick question which is am i done um on this shot so this is alan's um shot beat shot um the crop on here so in answer alan in terms of before and after here is before here is after if you want it to feel like it's popped and you've got that nice sort of or what is it turquoise blue topaz blue whatever um the nice light blue then you've done a good job of doing that you've got a nice contrast on this fish fisherman woman fisher person official person um but the only thing i personally would do with it given that this doesn't go quite into the corner um is give a bit more breathing room to this person down here so with it left on our original um aspect ratio and it's tiny but i just go to sort of there just to get a bit more space around this corner but other than that i'd uh i'd say you're done i think it's good um this froth up here on the on the water your choice to leave in or not completely your decision um i might want it a bit cleaner personally but again it's personal choice you could actually use keystone um to pull that out but what i would look at doing potentially is changing a bit of aspect ratio in here so with aspect we can change the how wide or how narrow the scene looks and if i do that with this i can get to there maybe even further there which seems to sort of settle out that scene a bit more so play with aspect but otherwise on these edits that you've got on here you know lighten the person to get the detail back um just be careful with the halo around there you haven't but just you know if you go too far you can end up with that lightning the beach and then globally you've done very few changes actually um so i i think i would um i'd be happy with that just just do make sure you give enough breathing room um to your subject um even if you come in here you know just just make sure there's enough room um with the edges and at the corner so the person's not right in that corner and it feels like it's budding up against the the edge of a frame okay um so for today that was alan's one good thing with alex was it was a quick one am i done yeah you are pretty much just maybe play with the crop a little bit in the aspect um claudia's shot here if you are shooting on a 7.5 millimeter lens you are going to get some perspective distortion when you look down things are going to pull um you can fix it to a certain extent but once you start getting out of control just stop reset try again but you're never going to be able to get this completely straight without losing half of the image you'd end up losing all of this detail here and the shot is about this coastline it's not necessarily about that house francesco's cave you know again it's about that exposure challenge if ever you're dealing with a really bright area in a really dark area you're gonna have that challenge linear response can help with some of these things but it's not gonna fix that that differential between the overexposed parts and the shadows but remember you can pull up detail in a shadow even if it brings noise you cannot recover something that's completely blown in the highlights which then we go back to where we started which is um tree shop really nice tree really cool tree i like it um but yeah maybe if ever you go there again um you might have to wait another year for that that autumn but um if you go there again try you know expect like i say experiment try one hotter one um one cooler in terms of how much exposure you're giving the camera um try one that's darker and see if you can lift up the shadows easier than trying to fix these um these hot spots up here because i'm sure there was some detail in there it's just the camera can't see it at the same time right uh that's it remember as i say keep an eye out for the the reefer and grover show in in london in a couple of weeks um but that will be announced over the next few weeks anyway um in the meantime uh while i have been away a little bit uh for the last couple of weeks i am very much back on board um so we're on that facebook group in the meantime so feel free to contribute or challenge or ask questions next week will be on wednesday not on thursday so it'll be wednesday the 24th um same time sorry australia guys sorry people on the west coast but in the meantime keep things coming in so upload your images poryforlive.wetransfer.com please include your name a few people didn't and the last um batch and we we cannot include your image if your name's not in there but in the meantime look after yourselves uh keep playing with your pictures and we'll catch you in a week cheers everyone bye you

Channel: Paul Reiffer

Views: 4,594

Keywords: Capture One, Capture, One, Post Processing, Editing, Phase One, Capture One Pro, Examples, Training, Learn, Lessons, RAW, Photo Editing, How To, Guide, Variants, Clarity, Tools, Masks, Natural, Histogram, Processing, Gradient, Support, Q&A, Edit, Adjustments, Contrast, Color, Exposure, 21, Landscape, Curve, Mask, Luma Range, Custom, Style, Brush, Upgrade, Layers, Filters, Adobe, Lightroom, Highlight, Recovery, Sunset, Grading, Colour, Editor, Fix, Radial, Magic Brush, 14.4, Export Tab, Export, Tool, Process, Keystone, ExportTabIsBack

Id: Pj1qyeDmFrM

Length: 63min 52sec (3832 seconds)

Published: Thu Nov 18 2021