Live Editing Sessions - Capture One 1st July 2021

everyone uh welcome it's thursday again um so here we go uh we are back online and doing a load more editing of your shots um in that stuff capture one um so for those of you that are online and live welcome back to some of you welcome for the first time to um several of you but there we go we've got all the normal people so jerry's on paul is on reggie's on uh who is who is it that listen dorset i keep forgetting uh where was it oh it's reg yeah from dorset cool um so somewhere down the road wretch is probably sweating just as much as i am at home because it's ridiculously hot in my office today but let's get on with our editing so we're going to spend the next hour going through capture one version 21 version 21 is the current version of capture orange the current live version for those of you that are aware of course there's beta versions um that are progressively sort of rolled out over time so those of you that are playing with betas at the moment great those of you that aren't please make sure that you're on the latest version of the stable release which is 21.1 or 14. sorry 21.2 sorry when autopilot or 14.2 so if you go to the about screen in capture one you're going to see it says 14.2 not 21.2 it's just because 21 is the marketing version that's the year 2021 14 is the actual version of capture one if you are running a previous version of capture one so version 19 well there wasn't a 19 it was 12 and then 11 and 10 and so on um please have a look at the options to upgrade you don't have to you can stay using 20 for as long as you can um but a lot of the stuff that we're going to cover in today's session if you're not on 20 or 21 you may find that some things are missing and 21 introduced some other things like some of the extra tools around style brushes as well as dehaze and so on so we're going to be using version 21.2 in this session for those people that are using the beta version i've had a couple of messages recently about this please please please do not use your beta version as your live version it's the same with operating systems it's the same with your phone so once you know if apple released a new beta version of ios you don't put it on your primary phone or you you can do but then don't call and cry if something goes wrong beta versions are designed to break that's why they're out there for testing so if you are going to run a beta version of any software not just capture one please make sure you have an environment or another computer or another login or whatever that you can run it independently of your live stuff for risk of losing work and and so on so for those of you that don't have uh the very latest version if you go to captureone.com you've got a few options one you can already upgrade if you're on version 21 of any um variety in your downloads section of your account on capture1.com you'll be able to download the latest version being 21.2 if you're on version 20 it will show you an option to upgrade if you choose to if you're on a previous version the same and you'll get pricing based on where you're coming from if you don't have capture one never played with it before or want to have a try um now it's moved on um quite a bit since maybe the last time you tried it go to captureone.com download the free trial it is free it's fully functional there's no limit on it other than 30 days but within that time hopefully you've got time to play around to your heart's content right let's get into capture one itself then um and this is the first image we're going to start with today so this one's from yentz um i'm gonna i'm gonna say this wrong but i thought uh just as i'm sure um jens thought others might think as well that this was a bit of a either a camera trick or a problem or a mistake or whatever it's not it's something called nacreous clouds um or you said polar stratospheric clouds which apparently caused this color phenomenon um i've never seen it before it's a bit like the northern lights meeting some random sort of storm from coming in but either way um looks pretty cool it's just a case of trying to get the best out of it so if we switch back to our raw file of this image so i'm going to hide the browser so command and b on mac we'll do that um but let's oh nope it will do a weird thing in this software um which is a bit strange um let me move myself back over there that's going to be really weird for you guys that are watching sorry about that that's a bit strange uh let's go back to there there we go let's make me nice and small hopefully um so that was a that was a bit weird um when i finished moving around your screen which is a little bit off-putting i'm sure uh we're gonna put me back in that little corner down there okay let's get back to normal um command b in capture one nod in our screen capture software hide the browser um that was that was really confusing for a while um so if you want to more or want to get more space in capture one you can do that just by going to command b it's also under the view menu so under the view menu here you've got your browser on the right hand side if you wanted to get more access into the picture so let's get some more picture up and let's look at what's going on here in the background so with the before and after enabled so let's just press that little button at the top if you don't see your before and after option it maybe you're on an older version but if not you can go to customize your toolbar and you'll find it here and you can drag it up to there to turn it on or you can press y on your keyboard which will give you a before and after split screen so here we can see the raw and here we can see the edit that jens has done so the challenge that the ends had done there's two i guess with this one was white balance and two was um and to use your words yes it was the murky clouds um over here so they and i get it they they look a little bit different to the the color temperature of the clouds that are up here i i can understand the concern um with it but um i'm not too worried about it to be honest um i'm a little bit more worried about the fact that i'm not mirrored anymore which is a bit strange um everything's just gone really really weird and wrong um with what we were doing but oh well that's better now i feel but now i feel normal okay so let's have a look at the the edits that yes has already done most of the edits are going to be on our exposure tab here in capture one um in here we can see there's a load of layers so good stuff there's quite a few layers on here uh including some with luma ranges so the luma range allows us to select areas of a certain brightness independently of the shape so it ignores shape it ignores edges ignores all that stuff and it's just looking at histogram values to include in that luma range like this one so this is everything from completely bright white through to 35 and then slowly dropping off until it hits 15 so black being zero bright white being two five five or not necessarily completely those terms if we're talking about red green and blue but effectively full saturation of a color versus no saturation of a color zero being down here so this is anything that's light in this bottom part which means that we can select the snow independently of the branches and so on without having to draw around all of those things so we've got some foreground brightness we've got some foreground falloff which is a little mask that just sort of drops it off as it gets nearer to the edge of the frame there's a general layer on the sky so this one here with another loom range to only select the bright stuff again bit of color grading across the whole image so i'm pressing m on my keyboard to make the red mask appear and it shows me what is masked so if i go to the blues brightness we can see that's everything again and on the color grading layer if i go to our color tab up here we can see in our color balance there's a shift to the highlights to make them a bit brighter or a bit more blue sorry shift to the mid tones to make them a bit more pink and in the shadows make them a bit warmer now that might also be contributing to this murkiness down here just as one thing and in terms of the blue brightness well we've got something under here i think on our color editor we've taken this segment of blue and just lifted its lightness a little bit so if i turn this off you'll see it's just lifting those blues a touch now there's a couple of things that concern me with this blues brightness layer if we look at let me just find it here you see we've got this line almost appearing out here and if i turn this layer off it's a lot smoother now that comes from the fact that we haven't used this smoothness function enough on the color editor so what's happening is these edits that you've got to lighten the blues it's doing that absolutely but at the edge of this little wedge that you've drawn in to select that color that color tone unfortunately that edge has actually become quite harsh because you've got all these amen like they are amazing colors but it means that it doesn't just go blue blue blue lighter blue lighter blue into white it goes blue blue blue and then purple then pink then green so we're getting these really strong transitions and because this smoothness here and if you watch these edges away from the wedge they get broader because the smoothness isn't quite broad enough we're getting a really harsh line on there now there's a limit to how far i can push that smoothness as well so my temptation with it is instead just to back these away a little bit i know you you kind of wanted to uh to really enhance it but that i found a little bit distracting just in terms of those lines around the blues you're always going to get it in places like here there's not much we can do about that if i look at our before it's a bit smoother again but as you start to enrich those colors as you start to bring up their saturation levels bring up their brightness levels unfortunately you're going to lose this smooth transition of color and you're going to get some of these lines starting to appear so we'll have a look at those as well our color grading isn't affecting those lines at all um our sky general let's just have a look a subtle change to some of those a little bit anyway um and some of that's probably yeah so it's coming from this levels change we're effectively stretching and squashing the histogram in certain places now that effect again if you imagine there were previously 255 levels between this amount of brightness and this amount of brightness as we squish the histogram unfortunately we have less and less levels to be able to play with so it's almost um it's almost like you're limiting the number of steps you can have in terms of that smooth transition from one tone to the next or one brightness to the next by playing with levels but i don't think this is too much of a problem here i mean certainly you've got rainbow bands in there and you did in the original so let's have a look at the uh the murky um clouds and we're going to start by looking at the other challenge that you said which is about white balance and in this shot genuinely this is going to be a tough one for white balance um sorry just i'm just going to go back just before we do look at this level change here so think about what this is doing just if you if you think in your head um because it's very difficult to even show you if i pull this level change back up to the right hand side yes everything gets dimmer but look how smooth those transitions have become in comparison if i push it back down to that 189 again they become quite harsh this is exactly what i'm talking about which is it's all well and good and we all think about doing it we all want to stretch those levels all the way out we want to um i guess make the darks darker and the the lights lighter and and of course that that all makes sense but in doing that we are literally taking an image which has got 255 levels down to an image which has got in this case 189 levels and we're stretching them up so we're effectively making each level almost harder in between so those steps become more digital and that's why we start to lose some of these transitions to really prove the point if i started doing this and this you'll start to see real hard lines coming in it's the same principle as we're reducing the number of steps in between our darkest area and our lightest area we're losing those gradients that can form quite naturally so i would be tempted personally instead of doing this all in levels and i don't think it's a bad idea to do some of it in levels but maybe we go to there in levels and then use the rest as brightness so brightness is is like a tapered um version of an exposure move we talk about it quite a lot so exposure literally is going to shift everything in that histogram from left to right or right to left if we use brightness it kind of squashes it so it's going to make the brights brighter but only to a point it's not going to force them to over expose as much as exposure itself does contrast they're going to leave because contrast is going to do the very similar job to levels it's going to push that that stepping to be um really really harsh but i am going to push exposure a little bit too and what i find then is maybe i get slightly smoother they're not completely smooth but slightly smoother transitions between each of those colors and brightness is out there so now back onto these murky clouds on the on the foreground so we've got a couple of layers here we've got a clouds two layer which is this particular one here and a clouds one layer which is this stuff up here um i'm going to come at this in a slightly different place which is let's delete these two layers and just for fun i'm going to call this one clouds3 so a new layer there's nothing on the layer i haven't drawn anything so i'm going to turn my brush on press b on your keyboard nice big brush big opacity 100 opacity and i'm just going to very roughly draw and i mean this roughly draw over my murky clouds i can of course just like with the other layers absolutely remove our shadows from it with a luma range so i'm going to include everything that's bright most things that are dark all the way down to where the trees start appearing but we do want to include these clouds here so we're going to do a really soft fall off there that works bit of a soft radius on that fall off and hit apply so i've now got a selection in here which is my very rough mask but with all the dark areas removed and with this area here i'm going to do a few things the first is i'm going to lift up their exposure a touch now don't worry about the transition between these clouds and the others it's not going to matter too much but what i will then do is lift up our shadows just a touch not black so black is the lowest part of our histogram it's the the very darkest sort of five to ten percent of the histogram these clouds don't sit in there as you can see they sort of if you watch this orange bar over here they sort of sit in the lower mid tones to shadows which is this bottom quarter here so by pulling up those shadows we're increasing the brightness too much but the brightness of the clouds without affecting any of this grass stuff here or any of the trees and then i'm going to use our white balance just on this layer to cool it down a little bit now i could do this with the color editor i could go into the color editor which i saw on on these previous layers was one of the ways potentially of doing it but because i think on where are we clouds too let me just turn it on i think yeah here we go so we'd used on the yellow pulled up the saturation and then on i think yeah so the the oranges pull up the lightness to try and get rid of the murkiness i don't think we need to we don't need to use the color editor because the color balance sort of does the job if we are worried about the yellows and the oranges then i'd just pull down their saturation a touch on this layer there and that's just going to keep them a bit more cool but the coldness of those clouds instead of the murky yellow to be cold i'm going to use the kelvin so the white balance of white or sorry color temperature of light and a little bit of tint just to shift it back towards the pinks that matches the rest of the shot so instead of these two layers i just do it with that one if we find that we've got some areas over here which are um let's say interrupting um the the flow because they get lighter here because obviously we've lifted stuff and then all of a sudden the rest of the sky gets darker it's where this mask is so i'm going to go to my eraser press e on the keyboard back down my opacity to quite a low amount soft edge and then just blend in so even though i have a luma range on this layer of course the luma range is on top of the mask that i draw so if i start erasing from that mask it doesn't make any difference to the luma range other than the luma range can only cover what's in the mask no more so as i start to delete that mask and delete the edges of the mask the loom range still applies doesn't make any difference to it other than it can't go into the areas that i've now erased uh where are we paula has just said what curve was chosen so it's linear response curve to start with let me just pull up our browser if i create a clone of this shot and change this to auto um you'll see it was a good decision to use linear response again remember the auto curve is going to bring in some contrast that contrast if i look at these two here is going to start to really really really um create some really hard lines and transitions not quite so much so on linear response so linear response is going to give you smoother transitions softer tones softer moves between light and dark but as a sacrifice of contrast what we're finding in this shot is more contrast isn't helping us we need almost less um to make it a little more uh a little more accurate to what was there in real life um rory pratt just said uh about the mask layer with the luma ranges cpu performance intensive to copy a layer with a loom range to multiple images um yeah it well it's it's not cpu intensive to do the copy um but think about what capture one's got to do it's got to calculate what's in that mask on every single image so let's say you've got 250 images where you're going to paste the same setting or same set of layers with the same luma range the same amount of time that is taken on one image to do that luma range calculation it's going to do 250 times um yeah that's the logic of how it works so it will take a lot more power um to do it but that's that's part of the deal i guess um so overall then we go on this shot from here to here now lifting up this i think is probably a good choice um with the sky out here it's it's honestly your call yes um in terms of you know what was there i i think this is probably a bit too warm um for what you saw whether this is too cool i don't know um maybe bringing this up quite so much as sort of distracted from the sky a little bit so i'd almost be tempted to put a lower thirds um just a quick even though we've done all that work to bring up um all the detail down here just to add in a little bit of exposure fall off down here maybe even just half a stop um just to really push the eye back up um to these clouds up here um but yeah i mean i i'd uh i certainly i agree with the crop that you ended up with which is this slightly tighter one i think this stuff here maybe is a bit too messy in the foreground especially since these ones are a little out of focus in the um the very close branches um but you know you might have a little bit of room where you could go a little bit further down um of course we're on a uh we're on a fixed crop so let's just pull that back to there and i wonder whether we could get to sort of there maybe just to give it a little more breathing room apart from this down here that's a tough one um pesky twigs um but one way or another to me this shot is all about making sure that you keep those colors and those transitions as accurate to real life as possible otherwise there was this there's no point in taking the shot so i think what you've done in in terms of keeping it realistic is good um it's just whether or not you're happy with that white balance or not i played with this a little bit um just before and tried to let's just go back to our background and just tried to play with white balance picking so let's just you know pick the snow which would be a safe bet all of a sudden we end up in a different place the reason just for reference that we're getting a different color here remember is we change the white balance of these clouds um in a layer later on so if we were actually to go back to uh let's just remove that one i'm going to actually reset our adjustments completely and just bring up our shadows so we can see the whole image that will bring up the black there okay if i choose the white balance from the snow it's going to make everything too green because the snow has got a pink tint to it if i choose the white balance from this area of the snow it's gonna leave the top two green the bottom two blue choose the white balance from the cloud up here and we end up with this sort of greeny color up here again way too blue down here choose the cloud over here you know we don't really get to a good place um that that makes sense i guess so there's an argument that says it's gonna have to be a custom white balance it's just then down to you know how how cool or how neutral that white balance is gonna feel if this is what you remember seeing um when you were stood there um then stick with it um go for it but yeah very cool i've never seen that stuff before in cloud and actually to be fair the first thing i did was went back to the roar to make sure actually that is there in the sky and it is it is like the northern lights meets a storm cloud which is kind of kind of funky um but yeah cool so to get it unmurky instead of you attacking those yellow and orange channels just maybe use the white balance on this horizon um but also maybe just keep that bottom part a little bit darker rather than a full recovery just so we're pushing the viewer right the way up to that top again um so they can see stuff properly right uh let's move on to uh our next shot so what have we got we've got ian's dragonfly this one cool um so in ian's dragonfly ah that's better now we feel more at home again um i just pressed the wrong button that was all earlier cool um now i feel all cozy again nice uh so here's his dragonfly full screen now finally that's that's a lot better um now with that dragonfly um there's a couple of things on here so ian's no in here's the raw um here's the first edit i guess um or there was the actual first edit then there's a straightening process so there's a debate with whether you straighten to the twig or branch or whether you straighten to the um to the insect i would go with straightening to the insect i think this is the right call if you go to this level of crop i think we lose a certain amount in this um and ian had explained that the reason that you've done this is because this bit here was a bit distracting now i'm in a place where i don't i i don't necessarily see that as too distracting i see this little bit as a bit distracting um but i think we can probably do something slightly differently which is to have the the dragonfly out of the the center i guess one thing to bear in mind is if we are going to go to the center so what are we out here we're at uh three nine something like that so there's our middle of our frame um if we're going to go to the center it needs to be in the center if it's not going to be in the center then then by all means off-center it but give it some room somewhere um so it looks intentionally off-center otherwise it just looks a little bit odd um on this shot here it's pretty much smack bang in the middle but this one here not so much so we'll have a little go at um this one down here and also maybe a slightly different crop so i'm going to pull up our crop here and i think we're probably at what are we at two by three i guess yeah um i would be tempted to actually bring it into sort of here and actually use some of this curve in here as well so i'm just gonna undo that so we are back to ian's original i'm going to clone it so we've got a reference point to go back to and i'm going to change this crop just to be that much wider um and put it on that sort of almost one third line into there and i wouldn't be uncomfortable let me just turn off these guides i wouldn't be uncomfortable with it being off centered i also wouldn't be uncomfortable with it being dead centered here but with enough room to breathe on either side of it i think this just feels a little too tight but that's that's entirely up to you then let's try and deal with this issue down here so if we've got a hot spot in the the image there's already a radial mask on this which is a better option than just doing a standard vignette because it means that actually we can control with our mask which bits are in the middle and the shape and and direction of that um that radial gradient but this down here i just i'm not too sure we want to play with it too much and i'll show you why it's a little bit like the clouds on jens's shot just before if we try and isolate this so let's say a quick option let's call this um bright white remove and let's go to our brush so the temptation let's think about it would be 100 brush let's just paint all over this bit of white and we're then going to go to a loomer range and i'm going to select only the white stuff there we go nice soft fall off nice big radius um [Music] all the white stuff and then maybe you have to go a little bit to the left to get these edges in here okay we'll apply that i might need to go in and tidy it up a little bit it might actually be a bit better potentially to go in with a um with an actual uh auto mask over the edge but either way it doesn't really matter how i do this i'm always going to have some sort of transition between the light parts and the dark parts on the rest of the shot so for instance where this white area here joins into this leaf so no matter what i do in terms of this mask what are we going to do let's let's pull down exposure well yeah it does affect that but it also affects the stuff around the edges of it and because of this fall off because of this this twig or this piece of i don't know what it is stick leaf whatever is in the bokeh of the shot you're not going to get that nice sharp clean line that you can then say right that i want to be darker and everything else i want to be lighter we've got to do some transition work so we can't just do it with exposure we can't just do it with brightness in theory we could say well let's let's affect or let's just attack the highlights maybe just the whites no because it's it's all in that same area so some of this stuff here is also in the highlights so trying to select this is actually really really difficult we could go into our color editor and say in our advanced tool here let's just have a little quick look and select this white you're going to see it's right in the middle here in this circle i'm sorry circle let's pull it all the way down so we're only affecting the white parts so the bits with no saturation that's the middle of the color editor circle really smooth let's pull down our lightness and we do darken it but look at what's happening at those edges we're starting to see those lines very similar to inyenses shot where as we're starting to force one color to make a decision or one one luminosity to make a decision in other words your bright now go darker we don't have that nice soft falloff to play with really um outside of it so we can do all these things but i'd be really careful to not do them too much and really really moderate how much you're editing to me you know i i you well you could push it a little bit like this but i wouldn't push it too much maybe we can afford to do a touch of brightness in there and to me i don't think this is any more distracting than this bit over here and so on in fact i would argue it's less distracting than this piece here um so to me i'd just be really really careful that um you're not trying to fix a problem and then ultimately ending up with something that's more obvious as part of the fix so if i turn this off for example and on we've now got some darker areas around this i'm just going to go in with my eraser and get rid of some of those especially around those transition points so we have darkened that back leaf but we haven't necessarily completely lost it what we will do however because it's bugging me um no pun intended is with our healing brush just pick on this line here i am sure the dragonfly is very proud of whatever it's got attached to its wing and maybe this was part of what you wanted to capture um if it is i apologize you because i'm just deleting it but if it wasn't i would be in a place of potentially letting go of that before i let go of the white part on the branch and that goes off into the bokeh so i'd be in a place where this just feels better just it's got more room around that dragonfly um than this shot here this feels very almost scientific in terms of a i guess almost a staged shot um sort of dead on here we've got a lot more habitat um but yeah i'd um and i'd be happy with that shot nice and sharp it's cool um josh just said style brush burn um we we can but let me show you what'll happen um because remember all that's gonna happen is burn is just going to darken um where we draw so let's just make our brush nice and small start to darken into here and yes while we're darkening you know it's not making it any less obvious if you see what i mean it's not it's not making it more green it's not adding um in order to make that disappear effectively we've got to turn that white part of that plant to be more green you know maybe we try it with a bit of tint no probably not maybe warm it up a little bit that could work too so you know using that same mask that's got the burn on all i've done is just played with the um the white balance but i i just think we might not need it that's that's sort of where i get to um very very quickly with it um if i pull this saturation down a bit that gets rid of that green neon um you know between these two layers if i turn them off that is obviously more distracting than than that um whether this is more real with those two layers i'm not sure um but you're going to hate me for this here but i'm going to bring it back a little bit um because i think it needs it to be natural um that's certainly as far as i would push it if i'm honest um pascal just wonder if the bokeh effect could be enhanced by decreasing contrast in the background yeah it can um a little bit don't don't try and create bokeh um by reducing contrast but on this radial layer that ian's put in um what you can do here is just pull that contrast back down ironically to ian's pulled it up that's giving us a bit more richness in the background if i pull this down then you're gonna lose more of that detail out there but i i kind of i like the vividness of of the version with it um it sort of adds to some sort of depth uh amount in those background colors um search just ask what about simple and subtle vignette that's what we've got um on ian's layer so here we've got this radial layer that is drawn on and in that layer you've got a brightness i'm down to almost maximum so minus 48 if i were to turn this layer off you'll see that's where we started there's quite a heavy vignette already but it's a vignette that's in control and it's in control by the radial graduated filter rather than just this you know global center based darkness all around each of the corners in fairness it's been pretty much centered but what this does do is give you the ability to change where that's positioned and the angle and shape um where are we joe's you said just decrease exposure tab on the um on the radial yeah potentially ah one thing i was ah forgot about that one thing i was going to say when i first looked at this it's funny i went to the raw and then i went to our edit here or the original um one for me and um and in all of these things to separate out the dragonfly from the background and bringing all that richness into the background what we have actually managed to do is darken the entire image so you could do it through levels so there's already an element of darkening um the image there or we could do it through brightness but what i'm going to do is just create a new filled layer on the top and call it lightness brightness um i'm going to use our brightness tool just to lighten things a little bit and then i'm going to use our levels just to touch just to give us a little bit of a pop on this a bit more contrast the opposite to what we were doing with yenta's shot before but that when printed is going to be a lot um a lot more vibrant um than here here if i look at this histogram when printed we're talking about most of the data being left of the mid-tone on the histogram here we've shifted it a little bit so it just becomes a little bit um a little bit brighter um and peter on the yeah so back to the the radial one um about negative clarity so yeah you can use contrast um to pull back that background we could also use some negative clarity which would further blur it my challenge is we're into a place where i i don't i think i prefer it like that um i just i think it just pops a bit more um yeah i don't know personal choice but um maybe you know maybe putting in a little bit of negative clarity might help with some of that background blur a little bit um but i would be tempted to keep that contrast and keep the um the vividness of that shot up okay um so two completely different approaches this one don't put in extra contrast because you're going to get these lines in the in the colors this one we're going to keep that contrast just to keep the the foreground separated so on to and i can't remember if you are henry or omri um but we'll go with angry as a bit of a compromise um and question or challenge um this was i think this is the matterhorn but look of it um and you said about a street light causing some flare i'm going to be the horrible person that tells you something you're not going to want to hear there may have been a street light there but this isn't flair from the street light this is dust um this is this is stuff on your lens that's being picked up um by that street light so it's number one people clean your lenses um but i'm guilty of it um i don't i don't have completely clear lenses quite often and have to go and fix it later on so what henry's done is put in a load of healing layers that try and get rid of some of these spots the problem with doing that and i'll show you here the before and after if you look at this part here before after before after count the number of star trails we've added some stars not too good don't really want to do that um especially when we're doing things like astrophotography we want to make sure that we're being accurate most and almost importantly so the healing brush is great it's going to try and get rid of some of these dots but it's also going to invent stuff that wasn't there because that's how it heals it takes stuff that if we look down here again as well so it takes stuff that wasn't there and adds it in so i don't think and and to be fair the end result it's better for sure but it's not going to get you that clean no spotted version um i don't think we can necessarily get there without huge amounts of manual painstaking pixel based work but there is a way that we can get to a much quicker um way of fixing this without necessarily needing to use the healing brush so i'm going to go on to our raw so here's our raw here and instead of using the healing brush which you know would be very easy let's just go to our heel brush up here say we want it a bit bigger okay draw around this dot and let it do its stuff so it's got rid of it but it's created some other things could do the same here yeah it's got rid of it but again you know we've created new star trails not too helpful so instead of that i'm going to use the color editor so we're going to go on to our advanced color editor no stuff in there at the moment go to our picker and i'm going to choose this orange color now because i only want to affect this dot i don't really want to make the same changes to this one or the same changes to anywhere else so where my dot is here on the color editor is that exact color now i'm going to make a bit of a gamble here and say i want everything in fact we can just turn on view selected color range so it's going to show me only the stuff that i've got selected and i'm going to say i want all of this color range here but not the stuff that's gray so the stuff that's only saturated pretty well so maybe to about there gonna add some smoothness that helps us get the whole of that dot and you can see we're using the color range now to isolate just that dot in orange now with that dot i'm going to turn off selected color range but i can now pull down saturation for a start but most importantly pull down lightness so together the two of them i can almost make it disappear and if i need it to expand a little bit more there bring up our lightness a bit it's almost like those um there's opticians charts where you're trying to make it um make what you're looking at disappear so a bit less saturation again yeah we're getting there okay next one so let's choose a new dot uh here and this one we're going to really isolate down here again so we want to make sure that we're not overlapping which we're not soft edges again to the the color wheel um pulled down our saturation and pulled down our lightness now i can see is starting to affect this one a little bit too so i'm now going to really narrow that down to only affect the one that i want which in part will be also be our smoothness here and what have we got in this one we may need to reduce that smoothness of touch there so what effectively we end up doing is trying to sort of juggle i guess from left to right with all these different um settings to get this dot and this dot independently reduced out of our picture so you might end up doing it on layers you might end up doing it in different different ways but you're still going to be in a better place than using the healing brush necessarily and just pumping it when you're finished with all of that stuff you can go back onto exactly what um what henry's done which is to go into our saturation and just pull down the overall saturation to be black and white now bear in mind when we do that we're going to affect what the color editor starts seeing so it may be better that you do that change after any saturation change or maybe load in a style first or whatever but in this case here where we've got a clear difference here between what is a flare or a pickup of a dust spot or whatever from a street light and the rest of the scene we can absolutely target it with our color editor and just erase those things to a certain extent can we get rid of them completely not without a lot of work but i'd be tempted not to go down the route of using the healing brush because we're just inventing stars that that weren't there um and yeah so the poles um point wouldn't be easy to make separate left respond mask on them yes it would um so in fact let's just uh just to make that point let's just do it so on our color editor here i'm just going to undo what i was just showing you there very quickly so new mask and let's just very roughly just going to turn that on so you can see i flow let's just go to there good with this one we're going to choose with our color editor here and we're going to go there not the desaturated parts there smoothness pull our saturation down pull our lightness down maybe to there a bit less saturation bit less lightness quite tricky and we might want to shift that hue a little bit as well maybe to there that's starting to disappear quite nicely then a new layer for our spot number two um again just pull up our flow and we've got layers saving brushes on here and with this one again new selection here pull that in nice and smooth reduce our saturation start pulling back our lightness and we start to get to a place where you can start making these disappear but it's a one by one process and it's you know it's it's tough to to fix that um if ever i could say to someone you know check your lens it's it's these sort of scenarios because you get home and i know i've done it you get home you look at the picture and like oh no um it's just some dust spots um we can see that it's dust spots rather than um a flare from a lenses it's not coming from one line or one um radial point we've got one two three four five six seven eight they're all over the place um but i would stay away from healing um try and do it with that color editor where you have got um color that you can use as a way of differentiating okay speaking of color let's have a look at carla's shot so um farm shot um i'm guessing this is well i think you mentioned a sort of harvesty time um this one you were concerned it's sort of not um it's not uh too good look at the i didn't notice this before look at these dust spots people clean your lenses um or maybe that sensor spots uh possibly dust but either way um this one here is probably a lens flare from the sun that's up above for the rest of it so a lot of work gone into removing all of those already by carla that's the healing layer on there we can actually see all of those points masked we had quite a lot on that um but i sort of i guess i want to play with color a little bit with this one and actually play with the crop to be quite severe so i'm almost in a place of coming in to say let's in fact change this to be one by two so a nice panoramic version all the way to there we're not going to include that sun up there because we don't have all of it and i'm in a place of saying well why don't we just warm this up um let's make it look like a nice warm harvest so don't be afraid to play with that white balance if you think it's going to add something to it and then almost going back to what um what ian did with the dragonfly we can use a radial mask to really focus the eye on this tractor here so nice big radial mass let me show you what that's doing so the closer these lines get together the harder the fall off on the radial mask that fall off unfortunately means that we can see an obvious line when we make some changes if i make this a lot smaller we get a much bigger gap effectively between the outside and the inside that makes the fall off a lot smoother so we don't notice it so much so i'm going to pull this down here to that tractor and then with the outside here i'm just going to pull down our exposure a touch not too much so if we do it too much yeah that's too much looks wrong um so maybe by one stop and then with the overall background i'm just going to pull up our brightness but also our saturation just a touch just to get that nice warm glow of of sort of afternoon harvesting um you know we've got a pretty high sun but it's certainly not up there at midday um it's more uh it's more i guess late afternoon or something like that as we've pulled that exposure down and as we've lifted the brightness up you can also see there's been some change to the color toning on that shot so we've ended up with less yellow and more green so i'm going to go back again to our background layer and just shift that tint a little bit more and shift our kelvin a little bit more warm so i don't want to end up with that sort of murky muddy color i want it to feel nice and rich and warm so that to me just feels a bit more i guess designed um than this if you're documenting exactly what is going on on this field and that was exactly how it felt and how it looked stick with it stick with that toning but if you're trying to create something that has a bit of a mood about it don't be afraid to play with this stuff um you know equally we don't have to do it through white balance we can also do it through our color grading so if we go into our color balance tool we can say well look at these bits these are all mid-tones so if we want the mid-tones to get away from green we're just going to shift those there to be guess more red our highlights let's make them nice and yellow that's pretty good and our shadows where do we want them let's make them maybe a bit bluey in there that looks pretty cool so don't be afraid and i mean this in the literal sense don't be afraid to play with some of these tonings and some of these color gradings because you know there's nothing wrong with that shot apart from these spots um but you know that um there's nothing wrong with that shot it's a it's a documentary style shot it captures what was going on but you know we can have some fun with some of these things um and they can come out looking really really cool the challenge is to make sure we don't end up with these halos i've just seen there's a bit too much of that in there so what i'm going to do with our radial mask is just shift this down a little bit here i'm also going to introduce another mask on the top uh we'll call it top brightness and with our gradient up here i'm just going to pull that in and we're going to go and pull our exposure down the reason for doing that without that mask and without that gradient you notice we had the start of the sunlight appearing at the top here so it starts getting brighter as it goes off the frame yes the sun was obviously up there we can see on the preview it's up there um quite a way up um but i don't want that necessarily on the shot so i'm going to do that with our overall with our top mask and then with our overall image i'm going to pull that exposure up just a bit so the whole image is lifted a little if i really want to um add in a final little bit of finishing i'm going to say foreground brightness with a new layer here and you can all guess what we're going to do here we're just going to pull in that exposure here so again the viewers brought up to what our subject is which is this cool little tractor so in my head nothing wrong with that shot nothing wrong with this shot in fact this one's probably more styled um but then it's again down to personal preference it's just what i want to do is give someone a feeling of what that would feel like while that's going on um and from a stylistic point of view it's up to you guys but play with your white balances play with your color balances down here play with shadows and uh mid tones and everything independently you know we've shifted these quite a way in this way you've got highlights and a completely different tone to the mid tones which is almost the opposite tone highlights to shadows you end up with a really nice blend of colors just don't go to weird um clashing colors try and keep them on the same sort of palette okay uh where are we uh powell's saying yeah it seems to be a dirty dirty sensor yeah um yeah it may be on the previous one you're saying about water drops it may be water drops um as opposed to as opposed to dust um yeah potentially actually um because they're quite big in fairness but you know up to you um yeah you're you're cool but either way if you want to fix it try to avoid doing it with the healing brush try and do it you know in a way that keeps it consistent okay michael's shot um so michael's sent this one in saying um what was it you said i think i know you don't like clarity um but have i you know does this work um no it doesn't so so i'll tell you why um everything else you've done on this show actually michael so it's been kept actually pretty faithful to the original one um here's our edit um the one that michael's done um here was the raw version so you didn't like the murkiness the sort of subdued nature of the the reeds and the trees so you've enriched those quite a way um it's become a lot more um poppy let's call it that or vibrant but it's also become quite digital um and what i mean by that if we look at the way that these leaves fall off into that brightness it's quite soft it's a there's a there's a natural fall off to it by the time we finish they've become quite harsh and when i look down to the water here so this is where we start talking about clarity here's our original water and look at these reeds and grasses here as we've done that clarity i'm hoping this comes out on the screen you can see it just feels a bit too hard um it's just a bit too binary too digital um and that's where the maybe the clarity is the slightly too heavy tool um to use on that so i would say um [Music] let's have a let's have a little look at where that clarity's popped in so it's not in your boat layer um it is in the water there and it's pretty heavy in the water there um at 54 and 60. the sails a little bit you know there's nothing wrong with that in fact you've enriched them and that looks pretty good it makes them pop the greenery there's no clarity in there the sky no clarity the background again a little bit in terms of 27 on that scale but for those of you that were watching last week remember that clarity is cumulative um so it actually has an accelerating effect if you've got 27 on the background and then we add on top of that another 54 you're just ramping up and ramping up and let's face it you wouldn't necessarily dial in a clarity of 80 or 90 on an image because it would be overdone and that's what's happened unfortunately on some of these areas because yes the water has this masked but obviously the background has it affected too so the background clarity okay we'll leave that where it is this water clarity and the fact there's a luma range on it and again we've we've covered that a couple times before as well these edges on this luma range unfortunately even with this radius dialed in are still very very harsh they're very very binary i'm almost tempted to soften back that sensitivity just to lose some of the harshness on it but with that amount of clarity and that amount of structure it's just too much even just dialing back the structure primarily on its own you get back to something that's a bit closer um to those natural um those natural fall offs um the sky up here that's just from contrast more than anything so if we go into our sky layer again we've got a loomer range on here if i go to display mask and you can see in here look at the the patterns it's created so even though in here we've got a lot of detail if i look at our mask it's almost creating these shapes because of that luma range so i would say you need a softer fall off and probably a lower sensitivity around there to apply and now you start to see we get a lot of the subtle detail back it stopped being quite so binary so if i just show you let me clone this variant go to our luma range and i'm gonna i can't remember where it was but if we uh have less of that and back up with the sensitivity um maybe it wasn't just in that layer anyway um but you've just got to be careful with these luma ranges that you're not pushing them too far you're not you know you do need a soft fall off you do need a softness around those edges especially with a radius just to keep the detail in those bits um just just to keep that detail nice and um well not nice and just there um rather than uh rather than wiping it out so no issue with using clarity um is the short answer michael but i think when it comes to these details here around things like reeds and grasses clarity with a loomer range which is very binary just be just be very very careful that you're not overdoing it and ending up with really really harsh lines around the edges up there okay um we're gonna stop on this shot but we'll probably pick up on it next time um this is from leo and i just want to cover one thing so just in case anyone's going out shooting over the weekend um so leo's shot um this and one of the challenges in this shot there's a there's a few things that we'll go through in terms of questions that leo had asked but the reverse gnd filter so the reverse graduated filter um is a wonderful filter and a dangerous filter at the same time so the reverse gnd for those of you that don't know it effectively rather than going from dark to light so from one end of the filter to the other it goes dark and then eventually gets lighter and lighter you have a clear part of the filter then it starts at the darkest in the middle and then it gets lighter again as it goes away it's great for shooting on the horizon if you get it exactly on the horizon if you have it slightly above the horizon it's actually very difficult to see when it's in your camera you can get this effect and this effect is effectively is basically where we've ended up with a dark filter here so there's nothing on the filter down at this part at the bottom then the filter starts and then it slowly gets lighter and you get a very unnatural effect in the sky it's great if you've got a hot spot on the horizon like the sun that works but beyond that you end up with this difficult challenge here we'll cover this in the next session in terms of how to rescue it it is possible to rescue it but if you are going to use a reverse gnd you need to make sure that a it's hard and b it's on the horizon um so that you don't get this this um very difficult effect here so we'll pick it up next week but for today um so if you're going out shooting with a reverse gnd be very careful over the weekend because we'll we'll fix this one next time but i don't want to fix too many of them um michael is that too much clarity yes um but only in a certain way so overall not an issue with the shot i actually like the edit i like the value pulled this stuff out just be careful with the with luma ranges and too much clarity that's layered on layer on layer so when you start adding layers of clarity on top of each other it can get out of hand really easily carla um this one you know nothing wrong with that shot i like this shot um i'd keep that color grading or start playing with color grading not just um not just following a script with it actually play with it try and find a grade that works for you henry um yeah unfortunately stuff on the lens whether it's water whether it's dust just be um just be careful with it you might have to keep wiping in between um in between shots if it is water but try not to use the healing brush in this sort of scenario because you're going to end up with invented content especially with astro stuff because you can see it in shot of the butter or the butterfly the dragonfly yes we can darken down that side here but i'd just be in a place of using a wider crop the more that's in the shot the less obvious one particular part of it is going to be um and i'd kee if you are going for the middle middle um of the shot then then put them in the middle um that's the key bit and then to start off with yentz um this really weird necrous cloud so however that's created very cool need to go and see that but the murkiness on the clouds steer away from the color editor if you're just seeing it um as sort of murky rather than a particular color and use white balance um to pull that up just like we did there so instead of those two layers we've used the one but most importantly be careful with overdoing contrast so you've used linear response to reduce contrast in the scene by introducing all that extra contrast you end up with these harsh transitions between the colors and that's um that's going away from what was in the original raw which is these nice soft pulls as they go across but overall i like that i need to go and see it myself cool right um take care everyone we will catch you next time obviously um that facebook group is still um going on we can all talk about my screw up with the video somehow um earlier on in this later on um please send your images in i'm using the same tool as always so paul reefer live.wetransfer.com um please please include your name otherwise we can't um we can't talk through your image but in between now and the next time that we're on um should be i guess next week we will catch you later stay safe dave at home if you've been told to and hope everyone's well cheers bye you

Channel: Paul Reiffer

Views: 3,094

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

Id: tyGGwJownsc

Length: 63min 24sec (3804 seconds)

Published: Thu Jul 01 2021