Live Editing Sessions - Capture One - 21st January 2021

hi everyone hello and happy thursday it's the same old thursday same old ending session but uh there we go and actually i was just thinking about this earlier there are some people that have been i think from memory people like claudio earl i think sharon maybe brian uh barry a couple of others my colony and maybe that have been on here since we started doing this nearly a year ago so great attendance record well done everyone um and for those of you that haven't well you're welcome to stay around so we have got one hour um over the next well 59.7 minutes um where we're going to be editing capture one so to be clear the editing version of well the version of capture one that we're going to be editing today is version 21. the latest release is 21.0 21.0.2 but actually if you look in the software it's actually called 14.0.2 um same as a lot of software companies um 21 actually refers to the year whereas 14 refers to the version of software that you've got if you don't have version 21 a lot of what we're going to go through today is going to be exactly the same for you the only biggest difference that you're going to notice in terms of us using it is going to be the dehaze function if we do um everything else generally speaking some of the shortcut keys and stuff we tend not to use on these sessions because you can't see what we're doing with brushes and stuff like that if we just do it um sort of blindly with the keys if you don't have version 21 and you have version 20 please make sure you're on the very latest this is the last release of version 20. i know a few people have been asking about the latest nikon cameras and the i think it's z762 and seven two uh whether they're coming to version 20. the answer is no um capture one have made that quite clear that the new camera models that have been introduced um from now on are going to be in version 21 um they're not due to put any into version 20 from this point so if you want to upgrade then version 21 is there if you want to know why you might want to upgrade obviously there's that pro tips thing that we keep talking about but have a look at that it's about 20 minutes long it will tell you the differences from version 20 to 21. if you don't have capture one you're just following along then by all means download the free trial it works for free for 30 days i'm just going to capture one.com download it it's fully functional there's no restrictions no um like watermarks or anything like that on there it's literally the full piece of software and then make the decision as to whether or not you want to uh we'll move along so uh without much more said a couple of sort of ground rules i guess because i forgot to mention these last couple of things so number one there is a little bit of a delay and this is part of streaming unfortunately between when you put a comment in and when i see it so i'm not ignoring you but please do put comments in um into any of the boxes whether you're on facebook or youtube so that i can see um what you're thinking what questions you've got if you've got any um you know how did you why did you i would have done this differently sort of thing then please put them in we'll try and cover them as we go um but just remember there's that little bit of lag in between um you sending it in and me seeing and being able to respond for those of you that are viewing on facebook just bear in mind facebook is really really bad for streaming quality um so i know a lot of people prefer facebook over youtube but genuinely youtube is going to give you uh 1440p or so higher than hd but not quite 4k um much better and much easier to be able to see what we're doing with the images than on the youtube stream on than on the facebook stream sorry so maybe consider um heading across to that uh couple of so late jim's a late bloomer from florida that's all right jim you're welcome um so uh where are we brian's just said while we're waiting i understand that in capture one holding down the option key and clicking on the reset icon should show an edit image without the edits not working for me we'll cover it in a second brian um it's not quite that simple but yes we'll pick that up and well don't claudia for using your lunch break to come along right let's get into capture one and we're going to start off with where we left last week so we've got quite a few images to try and get through today this one from michael um it's a well we'll cover what we're going to uh go through in a second in answer to brian's question um they just put up about the um the option key so there were some changes with the option keys um the undo's and the the resets and so on because of before and after um so basically before capture one had before and after uh let's just turn on our before and after up here or press the y key on the keyboard and you've got a slider before and after or we can change it to be full full view bear in mind that before and after isn't actually back to the original raw because if you make any crop adjustments and there are a couple of other things for instance curves and stuff the before shot isn't actually the pure image it's the modified one so it's got any keystone changes or any crop changes or anything like that also applied to it but in general terms this gives you a quick ability to see before and after but if you want to see one tool in particular and the difference that's made so let me just uh just for the sake of it let's just go and create a new filled layer so on top left new filled layer so i've got a mask that's on everything and with this layer i'm just going to pick on my white balance and make it really really warm and really really pink well obviously if i do before and after i'm going to go back to the original if i want to see just what that difference has made i can reset that tool but if i hold down the option key or the alt key and hold down my mouse that's the most important part as long as i've got the key held down and the mouse held down it temporarily shows me everything apart from this tool change on that layer let go with the mouse and we're back again mouse back on back again but the whole time i've kept the alt key or the option key held down with my finger so you can go one by one into each of these tools that you've made changes into and undo that step temporarily by holding down the alt key or permanently if you don't hold down the alt key and you press it the reset button up here not quite the same thing that's going to literally take you back to the pre-edit no changes variant or the original as it were and the undo button up here is slightly different this undo button here resets this tool on this layer so again think about that as well if you've got multiple layers with different white balances on the one that you undo here doesn't reset white balance across all of those layers it resets the white balance on this layer and the same with the option key so it's temporarily on this layer permanently on this layer but it won't affect the white balances on any other layer the undo button up here is slightly different that's an undo of steps so for example if i click on this image click on this image click on this image and go to undo it's not going to undo the last thing i did to an image it's going to take me back to the last thing i did which was click on an image under again go back to that image undo again go back to that image none of those were editing steps they were just things that i did in capture one so the undo button up here is a global anything i do any mouse click i make any keyboard i make or keyboard um click i do undo it the reset button here takes you back to the original so any of the changes that you've made any of the adjustments they're gone these buttons here undo this particular tool on this particular layer and if i hold down the option key it temporarily undoes it that was quite a lot to get through actually just describing undo but there we go those are the different things um in there so and and then the natural question i knew this would come up from someone so martin's the the winner of this prize so all the info is there so why can't we have a history panel the answer is martin i don't know i'm sure it's harder than you and i both think um but yes all the information is there it is all tracked in an undo button up here bear in mind the undo button obviously um releases the second that we come out of capture one or out of this catalog or so on so it empties that so we don't necessarily have history in that sense but i would hazard a guess that it's not impossible that capture one might be looking at doing something with history because it's you're not alone in asking for it it's quite often requested and you know i agree it would be a really really handy thing to have but in the meantime you do have those tools so ultimate reset or big reset button on the top left undo and redo of every step i do regardless of whether it's an adjustment it could just be me clicking on a different um folder um going to the color balance tool or it could be selecting a different image or a rating or a color anything or color tag or anything and then you've got the individual tools which remember it's not a global undo for that tool it's an undo for that tool on that layer there we go so let's get started on that note so now we've done that um in fact there is one other thing i wanted to show people um because it came up uh on facebook a couple of days ago and genuinely um it's a it's a let's call it a um a choice it's a personal choice we talked about the workspace stuff beforehand um in terms of editing these tools and so on um earl's just asked i'm just going to show you so if you mistake click on the big reset button so this is an image here click on the reset button it's gone back to its base image i can indeed undo that click the thing to get your head around is it's not undoing the reset itself it's undoing the the thing that i did with my mouse if that makes sense that will help um hopefully make it uh make it quick in in people's heads so um in terms of the outline here so i've just set up my little proof margin so by clicking up here we've got our ability to have a margin around our image when you go to print an image if you're designing your image for screen having a black background nothing wrong with that pretty good idea actually because a lot of stuff in the background especially when we come to theater viewers and galleries that people have on websites and stuff like that the background is black so makes sense no problem when you go to print it can be really helpful to set this background to white and i'm hoping you can see that this in the the stream so basically what i look at here as being actually quite bright quite illuminated and so on then when i go to print it comes out and it's a bit dark and a bit dull and a bit boring and so on and why is that well the reason is because we're comparing it to black and of course you can use your histogram to give you a guide but sometimes having this white background will really help you understand how deep and rich those blacks are how bright the whites really are um actually as well for white balance whether it's whether it's right so at the moment we've got a little bit of a tint in here out in the snow here you know is this really pure white having a white proof margin can help if you don't want the proof margin so let me just switch that back to black for this purpose if you don't want the proof margin this is the icon up here just click on it and it goes away and then your image is going to fill the whole screen rather than have this uh this beautiful margin around the edge to compare so if you're creating stuff for print the white margin can be really useful if you're doing it for online or um for screen use effectively it's not so important but it does give you a baseline um for using as a reference for your white balance if we want to call it that so michael's shot and we stopped last week on this one um and we're going to talk about noise we're going to talk about exposure um or pushing exposure let's call it that um as in terms of how far we can get it to go so first things first on any of these shots this was michael's edit there's a lot of information in here a lot of layers which is really useful because i can see what he's um what he's doing with each one but let's go back to the raw pure image this is the original the original image in this case is very dark i think we're all going to agree on that one but of course we've got a lot more dynamic range that the camera could see that's maybe not in our visible histogram here and the way that we see that is we pull up exposure or down exposure if we want to have a look at that way so if we pull up our exposure all the way we get back too close of where michael was at here in the final shot but look at out here i mean wow this bit that was bright and this is a very difficult scene you've got a bright area in the middle a really dark area around it this bit's now completely overexposed if i turn on my exposure warning i'm going to see the areas that are overexposed so the first temptation is to pull up the exposure but then try and recover those highlights so let's have a little look at what we can do and this is where i'm going to repeat something that we talked about oh maybe a couple months ago but i want to make sure that people have really understood this the exposure warning is not the same when it disappears as we've got all the data back the exposure warning is telling you that an area in here is clipping at two five five two five five two five five two five five either red green blue or a mix of those channels at 255 or above that clipping amount comes from my preferences in here and if i go to exposure i can choose the color of my exposure warning and also the limit so i have mine set at 255. a lot of people have them set down i think the default is lower like 250 or something like that and it's a warning remember it's telling you look risk there's a risk that we don't have any data in here but sometimes when something is pulled so bright in this in the scene we have a little bit of a problem when it comes to recovering it because if i just use this warning to tell me that okay we've got all the detail back and pull this down well now i don't have an exposure warning great but i certainly don't have any detail back and the reason is because now this level here as i move my mouse over is no longer two five five you can see at the top two one one two one one two on one but the fact those numbers are all the same is also telling me something he's telling me there's no real color data in there there's no real signal that got into the sensor beyond just blowing it out so what i'm looking at is even if i were to pull this up back to there were you know 251 probably a little bit higher than that maybe but i don't have an exposure warning anymore great but i also don't have any data so it doesn't matter what i do to this area with you know highlights whites pulling down the exposure anything like that once an area of your picture is completely blown out and by that i don't mean in the visible histogram i mean in the dynamic range that your camera can collect once you go beyond that it doesn't matter what you do in terms of getting rid of this exposure warning you're not getting any detail back you're just darkening that overexposed bit so now the overexposed area is as we look on the top 158 brilliant according to our histogram over here on the left if you watch where the orange bar goes this is no longer overexposed great it's now right there in the midterms but because it was overexposed and was really overexposed all of that pulling down of that information makes no difference to the detail coming back it's just changing the brightness of that area that was overexposed so be careful using the exposure warning it's not necessarily going to tell you the truth it's going to get it's going to give you a warning and that's what it's for to grab your attention to say hey look at this area over here you might want to do something with it so that's our first thing around exposure so although the temptation would be then to bring up everything else the more we do that of course the more we over expose this area here so we've got another little trick that we can use to try and rescue some of this which is our curve so at the moment it's auto also as we know we've talked about it over many weeks now adds in a bit of an s curve so it punches some contrast it makes the brights brighter the darks darker just to give your image a bit of a i guess default pop let's call it that so if i change this from auto to linear response look at what happens now of course i could recover this so this is the other thing to bear in mind i can recover an auto curve back down because it hasn't changed the raw data the underlying information is still there but i'm starting off from a different place and especially if you look at this fence area up here just above the highlight warning in fact let's just turn off the exposure no we'll leave it on actually let me switch this from auto back to linear response and we see two things happen the first is we've got a lot more detail in the areas that aren't overexposed the second is our overall exposure warning area has shrunk a little bit if i go without and with you can see it contracts a bit not a huge amount but that linear response curve is just calming down those highlights a little bit and when we calm them down we've probably got a bit more data that we can play with in there so with a linear response curve that's going to help us where it's also going to help us it's a bit you know that thing shooting in the dark i'm literally shooting in the dark up here i'm hoping i've chosen the right area so let's just go back to our auto curve and pull up the sky look at this noise up here so i'm going to clone this variant so it's exactly the same picture so there and there but on this one i'm going to load in the linear response curve now while the linear response curve has reduced some contrast it's also had the effect of effectively softening that noise because it's not grabbing all of those little peaks of highlights in the noise and little bits of darkness in the noise and pushing them a little bit with that little s contrast boost it's flattening it off now that's not great for my mountain because in my mountain i might want a bit more of that contrast but we can deal with that differently so this is just talking about our starting point so if i look at this image that michael sent in we've got two issues that i think we need to deal with one is this area here is still too overexposed even though the rest of the image is still dark and two this noise up here is pretty extreme um i mean this is some some heavy noise and of course it's going to be heavy noise because it's come out of a shadow of zero you know these these areas in the sky if i go before and after there was nothing here i mean one one one according to that top part up there you know there's out of a scale of 255 there's one in red green and blue channels and i dare say that was even pretty risky um claiming that so there's a certain point where it goes from noise recovery and noise reduction to we're starting to introduce artifacts and this stuff on the right is what i'd call an artifact it's not just noise it's the patterns that come from overdoing noise reduction and that's going to be a problem when you're pulling up a histogram by so much so let's start with our little clone down here that we started with our linear response curve i'm not going to pull the exposure for the whole shot up i'm going to leave that probably about two what i am going to do is put our highlights all the way down and our whites all the way down we might come back to that exposure as well in a minute um yeah john's just asked questions i guess you should at f13 you get the star burst and the lights yeah i mean it it's not quite as simple as it's funny um someone asked me about a year ago um what aperture do i need to do to get starburst it depends because it's not that simple it's actually a there's a ratio between the size of the point of light um the amount of contrast between that and the the surrounding areas and so on um but at f13 for sure in this sort of scenario you're gonna see um starbursts you can get starbursts f 5.6 if you're on the right lens in the right scenario with the right size a point of light um but yeah in in this case for street lights typically anything above f8 on a wide lens or f11 on generally any lens or generally any lens f16 is pretty safe but once you get into that territory you're going to be um seeing the little pinwheels of stars so with our exposure pulled up and our shadow oh sorry our highlights and our whites pulled down we can already see if i look at the original from michael here and this one here we're not fixing the over over exposed stuff in part because we can't but what we have got is a bit more detail on the right hand one than we do on the original or the the edit that michael sent in so by not pulling up our exposure quite so much using a flattened curve and recovering completely those highlights and whites we get a bit more detail back um into this highlighted area here uh where are we so next up let's try and pull up our shadows now remember there's a difference in histogram between shadows and blacks so blacks is the very very very bottom part of the histogram let's call it the bottom five percent shadows is the bottom roughly 20 25 um of that histogram too if we pull up blacks alone i'm going to do this so you can see so let's pull up blacks alone everything that was very very very dark is now going to be lifted but here's the problem you get this weird sort of um effect here where it's almost flattened things and the reason is because it's taken those darkest parts and squashed them into the lower mid tones but the bit that was between the blacks and the lower mid tones is sort of not moved quite as much because it's only focused on the blacks so unfortunately as we pull that up you get this weird effect where it's not quite the same and not quite as nice as a general exposure lift shadows is going to grab more of that clump so it's going to grab more of this data here frankly we could do this with a luma curve down the bottom but the shadows tool is there to do it for us anyway so we're going to pull those shadows up by quite a bit i wouldn't normally do this up to this level but that's kind of what it needs and you'll see the difference between blacks pulled up on their own and shadows pulled up on their own this is a lot more natural to pull up a bigger chunk of that information than just the bottom five percent we can of course bring up blacks a tiny bit too but remember that bottom five percent those blacks in the in the histogram are also storing all this noise so as we do that that's going to really affect how much noise we're bringing into the image so we might pull it up a couple points but really no more than that okay so let's have a little look at out here and we're going to go into our noise reduction tab um now the noise reduction this is another thing that people get confused by um on your background layer sharpening and noise reduction will default to what capture one has decided as the right amount for this lens sensor and so on combination if i create a new layer these go to zero the amount is zero the amount here on noise reduction zero so no sharpening no noise reduction no luminous reduction detail reduction and so on but it is still because it's doing it on the background and these are additive so i think we sort of covered it the other day but if i over sharp oh sorry this isn't the filled layer just fill that there if i over sharpen this layer here this is and you can see these horrible artifacts going to start to appear this is on top of the sharpening on my background so they're cumulative so be really careful with this what can happen is you can create a create a layer great that's weird um you can create a layer um think you've gone into that layer and think oh there's no sharpening and no noise reduction in this picture let's just let's wind them up be very careful with that because you'll find that on your background layer it's already doing it you can obviously add more in another layer but your sharpening and noise reduction are going to default and also on your um your background layer and in this case i kind of want to get to a point where we are increasing our noise reduction a little bit capture one from version can't remember it was either 12 or 20 one of those two um got a lot better with noise reduction but in this particular case this particular shot there's so much noise in this these shadows what i'm going to do is reduce the risk of introducing noise by not bringing up those darkest parts of the image in the first place so out here look where we've got a lot of detail and obviously the camera is getting more information rather than just noise in the shadows we don't have to worry too much because it is all there but up here where this was solid black let's go to our before and after anything it pulls up in terms of shadow it's also going to pull up that noise and some of this will be sensor heat noise and and so on but we kind of want to get away from that um being a distraction so what i would do with this shot is immediately put on a gradient and the reason for that is i don't mind that the sky is dark it makes sense that the sky is dark so if i turn this on press the m key on the keyboard we can see our mask my sky up here i'm going to darken down intentionally so there's two ways of doing this one is we can brighten up uh we do a layer to brighten up the foreground the other is we brighten up the background layer and we darken down the sky that's what we're going to do on here so i'm going to call it dark sky so with our background now i can afford just to push this a little bit more so we might want to push it to i don't know let's go for another third of a stop up and maybe we pull our shadows just a touch more as well and i'm going to pop that clarity interesting you can now see my thought process live online um we're going to do the opposite i'll tell you why i don't want to have to undo clarity in that sky that doesn't make sense to me so instead of doing it this way we're going to create a new layer and call it foreground and with that i'm going to draw my new little gradient that's going to cover up to these mountains and this layer alone we're going to add to that exposure again about a third of a stop just like i did before and we're going to pull up shadows a bit just bear in mind as well your hdr layers or sorry your hdr adjustments are also cumulative so if you have one layer as a background and you've done a load of highlight recovery and you have another layer on top and do some more highlight recovery it will try again and again but bear in mind what i showed you at the start there comes a point where it can't recover anymore anyway so it becomes futile but in this case for shadow yes we can pull up the foreground a bit more than we had before and i'm going to pull up clarity by quite a bit and the reason that i did that switch is because i only want the clarity to affect this part not the sky so rather than trying to undo it with a layer on top i'm not going to do it to the sky in the first place out here well let's see what we can do with our highlights and our whites so we can get a bit back by doubling up so remember we've got a background which has got full highlight and white recovery and a foreground which has got a bit more highlight in white recovery which one is better yeah i'm not not too sure in fact i might even pull down this exposure pop because that is affecting this area here and rely purely on the shadow pop instead um let's just do a bit more recovery into there let's see is that helping us and always with this we want to have a look at that layer is it helping us or is it making things worse and i want to make sure that everything we're doing isn't making things worse to the image it's actually helping recover detail okay overall then on our background let's go back to our white balance and i'm tempted to cool it down a bit and also just to get rid of some of the green tint we obviously have this challenge here with the snow um we could force this to go white let's just choose a little picker here don't choose a bit of the snow that's under a light if we try and get the picture out here on the right to be neutral and white that doesn't make much sense whatsoever because it's not white it's the snow is reflecting the light that was coming from the street lamp which was yellow so we need to find an area out here that is neutral and in the shadows so maybe there okay it's made us a bit greener than i wanted so i'm just going to correct for that a little bit but it's not far off that's looking pretty good um damian's just said what about luminosity mask on the highlights it's the same thing damien so even if i go into here um oops didn't mean to do the uh the white balance change um even if i go into here and were to select the highlights alone in their luminosity there's not much more i can do with it um because when i try and pull down those there it so let's imagine i select all the areas which are very bright pulling them down an exposure they're just going to go gray there's no more detail in there so i think we've stretched this as far as we can in terms of getting detail back and at that point it doesn't matter really um what we do to it it can't go any more um andy's saying can you type a higher value than 100 for the adjustments no um but what you can do as i say is double up on them just be careful if you're going to do that and just to show you in that sense let's go to a field layer so i can go to clarity and go boom a hundred and i can create a new filled layer clarity boom another hundred then a new field layer clarity boom another hundred uh and then we end up where we were the other week about talking about instagram posts um but yes you can add more than 100 but you have to do it with a cumulative layer um one on top of the other to do it um out here in the mountains though so let's uh let's just add a new layer and i'm going to call it mountains because i do want these to stand out a little bit and all i'm going to do is with a really rough brush in fact we'll leave it at 100 that's fine and i'm just going to select this area being careful not to go too far or too close to the very very edges of them because i don't really want to halo into the sky and remember i've excluded the sky from some of this clarity work but with those mountains what we can do is we can go on to our contrast tool a little bit that's going to darken down a lot of the darker bits and also then use our clarity tool just to lift them as mountains so let's go without and with that makes them pop a little bit more pretty good but what we've now got in this scene is a shot that doesn't have too much noise up here certainly not in terms of artifacts compared to the original edit um so while it's subtle i'm hoping you can see on the screen but the original one is on the left the new one is on the right um you should be able to see i hope there's less of this patterny stuff happening here um again it's not going to make a huge difference with what we do here because there's so much noise in this shot but i'm in a place where the new version on the right is a bit more neutral we haven't got that green tint that's happening over here with some of the um some of the mountains and more importantly let's just go into here we've got a little more detail back in these steps here and that comes from using that um sorry lumico linear response curve in the first place and we can see there's a lot more information down here a lot cleaner a lot crisper a lot sharper without a lot of the noise that came with it um and then would you uh brian's just asked would you use brightness instead of exposure to keep the highlights in check potentially um the issue with with brightness is and especially in this shot uh funnily enough the what happened there we lost that was weird uh we lost capture one for a second okay so would i um would i use brightness instead the issue with doing it is brightness tends to flatten contrast um so the problem with flattening the contrast especially in this shot here is we are going to end up in this situation where well let me just zoom out a second um for some reason that weird blip has changed my zoom ability um we don't have a lot of contrast to start with in here we've got extremes um and brightness would prevent that from happening but what brightness is going to do is it's going to flatten down any of these bits that are approaching the the lower mid tones and we can do it um but you're going to find that we lose some of that punch that we built in with contrast and clarity and so on um and then where are we mobius just said um so would a touch of d haze uh produce any useful results uh maccas just said she's going to bed so that's okay well he's going to bed um so that's that's okay um i'm not sure mecca are you i don't know if you're okay um you're in queensland that's okay you're allowed to go it's different time zone that's allowed um so would a touch of d haze producing useful results it could do in my experience um with dehaze it can also though bring up some noise so just be really careful with that so oh yeah that's although that's on our mountain um layer let's just go back to our background let's just add in dehaze okay um so i wasn't predicting that um but i have seen similar things and it sort of doesn't matter what shadow tone i try and use um you still get this weird mottled effect with the with the noise so unfortunately um dehaze in a high noise environment i'm not in a place of thinking it's um it's going to help us too much but in answer to michael's question um the the way to get rid of this noise in part is um is to go subtly so not to push all of these things too high not to try and recover too much not to try and push the image beyond its limits of the original camera's dynamic range but there are things we can do to try and calm it down and try focusing you know the key thing here is if we've got lots of noise in the sky then maybe we make less of a feature of the sky and don't brighten it up by quite so much so you don't see it quite so much as well okay so yeah this is a good before and after before after there we go um right let's have a look at claudio's shot um so uh oh i don't know who's like sorry i missed a question uh funny enough from claudio about someone else's images so uh what do we do in these uh night cityscape scenes blow the highlights and get more details in the shadows and blacks or go bracketing so um the the short answer is in some cases you have to just choose you you've got to make your decision um at the point that you capture it what are you willing to sacrifice if your camera's got a lot of dynamic range um i don't know what this one was shot on let's just have a little look i was a sony a7r uh four so it's a decent dynamic range camera it's just this original scene was so dark um so yeah in this case here actually there is another route which is to use a center weighted um gnd filter so of course you can get circular or radial gnd filters where the center is darker and they're used for sunsets and sunrises in this case that could have helped because it could have meant that you could have darkened down this part down here allow the rest of it to expose for a bit longer maybe that would have helped a little bit um but generally speaking you know once something is completely blown you don't have any ability to get it back when a shadow is underexposed you do have some ability to get it back so you've got to be a little bit careful with what um what levers you want to pull to try and recover the image but in in broad terms where we want to get to is try and protect the highlights as much as you can it is perfectly reasonable in this case here that if we've got an area here like this light or this light or this ski slope here i presume it's a ski slope but um is that going to be overexposed of course it is you've got bright lights pointing at the camera in a dark scene so i'm not expecting it to be to be correctly exposed um but i would try and protect the real bright parts not the complete blowouts like lights and street lights but the real bright parts of the image and then see what you can do with the shadows or blend so two exposures one for the highlights one for the shadows um and then hopefully you'll be able to get it to get it back okay um so yeah michael just said i used no filters and no bracketing says bit hard work yet honestly in in this sort of shot these are tough shots to edit um there are other tools out there that do a stronger job of noise reduction i talked about one last week called noise where um they can do a good job of trying to fix it but just remember we're in a mode of fixing uh when we start talking about those sort of heavyweight tools we're not in a mode of edit we're genuinely trying to fix okay uh so let's go to claudia's picture um so quite wintry um quite apt up here at the moment um so this tree here um first thing on it so number one really nice shot love this shot um it's a nice tone nice contrast nice it's the right amount of fog and stuff please people don't do this um i've seen in the last couple of weeks i've seen so many people using all of the um all of the sliders for dehaze to try and make every picture completely clear and crisp this picture works because of that atmosphere it works because of the fog the mist in fact if you wanted to you could even introduce more i wouldn't it's captured it's captured pretty well as it is if we did want to make this clearer rather than using d haze what i would do potentially and again it's up to you is use levels to do that clarity um improvement and again it allows me to be a bit more subtle it's just brightening up those whites and so on going back to what we were saying earlier about proof margins so this is a bright white picture let's change to white and actually no it's not it's a gray picture and this is one of the reasons why using that white margin for print can be really really powerful because it allows us to match what should be white to actually what would be white um as in two five five two five five two five five so i'm not gonna make it completely white i'm gonna make it sort of off um up here but certainly so that we're peaking and what i'm looking for is on my exposure warning have i made anything too close to that two five five so there we go that's our limit there i'm gonna switch back um off of the white margin to a black one and then i look at the second thing with this one and i'm going to guess um that claudio i don't think you took this picture leaning i think maybe it's on a slight slope on a slight hill which is fine for the picture and then we go into this same conversation we've had before which is about the difference between a print on a wall and a picture of a memory so for what you saw there this was probably completely upright um and there's no issue with this angle on a print on a wall i'm gonna and this is maybe just me personally a bit weird but i find it a little distracting when the thing is leaning slightly i don't have a problem if it's leaning a lot and i don't have a problem if it's level but when it's slightly off it just feels uncomfortable so what i'm gonna do is just start with a clone variant and i'm going to use again what i don't want to do is use our rotate tool because if i rotate this now my tree is leaning over that doesn't make sense so that looks worse let's not do that undo button again there we go so i just undid my uh my rotate instead and we've done this on a couple of images before we can use our keystone tool the horizontal keystone tool to stretch a part of the image and here's the difference if i rotate i literally turn i twist and rotate the image around the point um that i designate with the long line tongue tied today for no reason um if i use the keystone tool i can stretch one edge more than the other so it means that we don't change the the upright elements of the image we're just changing the perspective or the perspective distortion of either the right or the left hand side if we use the horizontal one so what i can do is say we'll leave this up here as it is but down here i'm just going to pull this keystone up and hit apply so now i've got a level ground but i haven't made the tree fall over and this is the difference between using your perspective correction and using rotate rotate is literally one big lump of a movement it's just going to pick the picture up and turn it perspective correction as you can see from the margin that we're losing here is pulling and stretching and it's leaving this top part relatively straight but the bottom part here is really pulling away in this bottom left hand corner which has the effect of making the ground appear straight so if i now hit the the arrow key now i have a level ground the tree's not falling over all of these are still vertical there's no problem there it just feels a bit more comfortable then um so on this one um it's you know olympus shot uh we've got a week what's the thing that goes wrong with olympus shots at the moment in 21 i can't remember um claudia you have to remind me but there's something that we try and it doesn't quite work it's masking or something like that anyway let's create a new gradient layer because i want to do something a little bit different here i'm going to draw a layer up so my red area here and with this layer here's a fun one d haze negative d haze now there is a challenge with this which is choosing the right shadow tone for your d haze and at the moment it has chosen this sort of dark blue color i want it to choose the same haze as the fog up here so the really bright stuff maybe not quite so bright maybe there but what this is doing is it's allowing me to take some of the distraction of the foreground away i don't want to do it quite this much so i'm actually going to use the layer opacity so this one up here and pull this down until i find the amount that i'm happy with so that's with no change that's with the full change this is about halfway that sort of suits me so what i'm doing is i'm i'm subtly adding in haze funnily enough into this foreground and reducing the color by choosing this shadow tone here to effectively push the viewer back up towards the tree uh so where are we a couple of um questions on this like claudia said yes taking on slight hill um pablo i was thinking of mixing straight tool and vertical keystone um this way is much better yeah so you know try if you are going to do keystone to do a rotation try not to use the four-way keystone um only ever use either the vertical or the horizontal if you're trying to stretch a horizon or trying to make a horizon especially what you'll find is on rivers when you're photographing a river and the river goes away from you rather than rotating it which means everything just then leans um you can use your keystone tool to pull it towards you in the same way that you can use tilt shift lenses on cameras to do it we can just do it with a keystone tool instead so uh and then where was the other one sorry uh paula uh after the first excitement the d haze tool i got back to the tools i used beforehand and just use it for finishing touch yeah so um genuinely um and i'll go on to another image in a minute um i said this from the very beginning if you're willing to put the time in and spend the effort and the energy in getting it right you can do better than the key other than the d haze tool yourself through curves and clarity and levels changes and so on um and actually capture one will say that too you know that's not a that's not a marketing cover-up or there's not a blip the d-haze tool is designed as a quick way of getting to sort of 70 or 80 very easily and that's what it does very well but if you really want to get into fine tuning and really pulling out details that you control that's where the other tools come in um into their own um so then with this shot um where were we i wanted to just have a little look as to whether or not a black and white version of it would work and the problem i've got is because there's not a lot of color in the original shot other than this sort of reddy green or sorry ready yellowy color it's very difficult to use these sliders these these filter sliders to control the contrast in there so instead of that what we might want to do is maybe actually go into one of the oops uh where are we beyond black and white i think it's four no maybe not maybe even one um just to see what we get i think that's overdone um i actually prefer i think um the color version of it and even with a black and white conversion um as it were if we did that if i start pulling up some of our contrast and stuff like that i think it's going to go too harsh oops sorry that's the foreground i don't want that one uh contrast up here it's going to go too harsh and i don't like it i think we are genuinely in a good place with this nice soft color tone we could cool it down a bit i think pablo's just mentioned that you know we could call it a touch um but i think again even with that i like it as it is i like the way that um on the wrong layer again stupid um so we could cool it down a little bit but i i just think i prefer um the original toning of it um maybe with a tiny tweak and that's it uh brian says is there any way to shift the panel up a bit i'm not sure with our crop we might yeah we've got a little bit of room up there um so we can do just to give this a bit more breathing space above the tree yep absolutely um so there we go um so we did that a few weeks ago has made a huge difference to editing so there we go um don't always just run for the um run for the uh dehaze tool or haste or the rotate tool sorry mind blank um to straighten your images if it is literally turned and on a slope then then yes that's what the straighten tool is for but if it's about perspective or a slight rise in a hill like in this case keystone tool can be really powerful to do that um claudia's just said he added a clarity layer on top yes i'm torn to be honest claudia so let's do that um and it's gonna just pop it a bit but i don't know i kind of i like the um i like the fact that these fall out in the background i genuinely i think you've captured it spot on um so i think genuinely it's a case of less is more in this case um if i go to before and after you know we we have cooled it we've we've got rid of some of the focus down here in the bottom we've certainly cooled down this in the foreground we've straightened it which is one key thing so we go from uh let's just go from there to there so as a print this is gonna fit nicer on a wall it's gonna feel nicer on a wall you might want to nip this little tree out here with a bit of negative dehaze as well um but yeah overall i honestly i would leave this as a print it looks really nice okay um so where are we viankoff i think your name is vienkov we were trying to check um earlier we can't um we didn't get back from you in time um so going back to the point i made just now about clarity versus dehaze and curves and so on here is what d haze can do with this shot frankly a really good job uh raven out on a branch and d haze is going to make this nice and clear crisp add a bit more color into it that's part of the uh the result of dehaze especially if you push it all the way to 100 you can get some color um in uh introduced in here um so that's what d haze does out of the box there versus there but i think doing it with levels alone is a lot more natural so i'm going to clone this variant i'm actually going to undo these levels i'm going to do it with d haze and you can take a look so i'm not going to do it massively i'm going to do it sort of 60 out of 100 so that's the dehaze version that's the levels version so levels on the left d hazes on the right and to me there's a couple of things number one this feels more natural in this particular instance not always but in this instance it does but number two this then forces me to think about other elements of the image so rather than just relying on one slider to pull it up what we can do is we can pick on our curve now and say well actually these darker parts down here i just want to lighten those up a little bit that's pretty good uh where are we there and then maybe i might want to add an extra layer on for the raven so we'll call that layer raven let's just go and get one image up instead of multiple so on this layer here what we could do is maybe paint so a very rough area in here and all i'm going to do is just pump that clarity a little bit because it's looking for areas it doesn't matter that i was rough obviously if i was being neater i could be but it is picking up on that raven overall and i then get to the point of this is the one with um what did we do so one little clarity bow or boost a little less curve and some levels changes compared to the d haze version the d haze version gets us there a lot quicker for sure but this one just feels more natural look at this detail in the background that dehaze hasn't picked up because we haven't done any of those little fine-tuning tweaks we haven't done any curve adjustment any levels change or anything like that we've relied on d hey so d-haze is great because it separated this foreground from the background but some of this background is quite interesting surely so you then end up in this place where hopefully people will understand d haze is a wonderful tool if you need dehaze specifically if you're trying to add your own take on atmosphere or you know adding in in some cases rehaze is actually a really fun tool to use with the da's slider but adding in little nuances into a picture it's these other tools it's the levels tools it's the curves tools it's the clarity sliders the hdr sliders those are the bits that allow you to edit individual parts of the image a lot better and in the case of this raven so let's go raven 2. what i'm going to do is just do a very very quietly very very lazy on masks today let's just draw a quick mask over our raven we're going to go to luma range and with our luma range we're going to select everything that's nice and dark i.e the raven and not the background there we go pretty good uh let's have a little bit of a radius just in case of clips and bits i didn't want and with that we can now pump the contrast we could do a little bit of clarity on there as well and actually there's a little bit of a red and a blue tint on that raven now as a result of that so i'm just going to pull that back whoa not by that much there we go so where i head to very very quickly is the worry that i have in my head is when we start talking about one slider to do something we kind of look at it as a magic bullet when you stop yourself from doing that so when you use d haze i think someone said earlier i can't remember who it was um someone mentioned about oh it was paula sorry i read it out um using dehaze as a finishing touch um absolutely because the mindset then changes you start talking about using dehaze to add that final little pop or or change but you've already been through all the other tools that you know can do amazing work beforehand so to me i sort of look at dehaze as i get out of jail card now if we need to do something very quickly at the end just to make it pop it does a great job if i need to add fog then yep it does a great job of that as well but i would still personally stick to a natural edit on the left versus the one click solution on the right of course you could take the dehaze solution and then further fine tweak it as well but i just prefer in my head the thought process of what am i trying to do to an image um overall um well you also just said i use rehaze more than d haze yeah um i'm not uh i'm not surprised lots of people are saying that um at the moment and actually he's a really really good tool um as long as you choose the right shadow tone that's the uh that's the key um to that tool okay so let's just come on to one shot uh we're gonna hit that one or alan's we're gonna go on to andreas just for now um so this is i think vienna you said andreas i'm not sure if you're on um so this there are multiple shots of this opera house it's the original um that you're seeing here on the screen so before and after is the same um and then what andreas has done is lots and lots of different versions of it um in terms of edits um selective color one obviously in here um this one here which is a bit further back we've got a lot of vignetting up here this one which is you know pretty geometric um pretty cool i sort of get to the point of this one being my preference out of it i'm not actually going to change um the edit i just wanted you guys to see um what a difference a few things can make so number one this is the original obviously it needs quite a bit of work to get it up to this point and andreas has done that work so in part we've cooled it down in part we've got some uh tint change and so on we might have in some of them we've reduced some saturation he's picked on this um often in the middle so the open sign in red and selective to do that so there's different ways of treating it but ultimately this comes down to your view on how the picture needs to be because this one looks really powerful as a geometric shape you know it's right in your face so it's a really powerful print this one not so um this one feels more set back you're not part of it it's not imposing this one you know we all know the the classic sort of uh um selective color trick in this scenario here i think it works better than a lot of other ones um certainly when i see the you know the random guy with a red rose that's in um color and everything else in black and white not a fan of that but this one this actually really works um but to me this is probably the best setup out of them so it's got distortion correction in the front with these lights which have actually worked really well we've got a bit of a pull because it's an ultra wide lens um well 23 it's not ultra ultra wide but it's certainly pulling out these lights um but the toning in this and everything is really really spot-on um really really nicely done undress okay um and then on to allen's so alan's shot here i just wanted to pick on something on here so this is actually a full color shot it's a yellow um corridor it's a really nice black and white conversion um allen's actually done a huge amount of work on this shot so there's subtle grads up here or gradient filters up here and on the left um we've got some healing that's been done um up here on these cracks there's believe it or not down here we've got a load of lights let's just go into there um which have all been removed so when someone says to me the healing brush and capture one doesn't work i would say alan will disagree with you um but there's one thing that you didn't touch on alan which i just want to show you just in case you didn't know um or it wasn't one that you'd played with before on the black and white conversion itself we've got this enable black and white these sliders here relate to the original color data that you had so in other words if i go to my black and white here most of my color data was yellow and orange and so on i can change how this image feels by playing with these selectors so in other words if i tell it the yellows in this picture i want you to get lighter or darker that's going to have a big effect on the whole image for sure because the whole image was pretty yellow but what about things like the where was it i found it earlier was it cyan was it blue there we are the blues um i knew i found it somewhere look at our floor here with this reflection now if we really want to drive the viewer to look down that corridor we've got the option to do it by pulling these blues down and that just gets rid of some of this shine some of the reflection some of the reflected blue light funnily enough that came from the yellow that was hitting this pavement down here so with a black and white conversion remember you've also got these sliders in here so everything on this edit i like it's done really well really subtly um sympathetic it's it's good in terms of detail a little bit of an issue with some of this stuff blowing out a little bit out here but again that's just going to be a case of pulling down these sliders a bit more you can get away with it some of this is overexposed but you've done a good job of recovering it but never forget with the black and white conversion under your color tab at the bottom you've got your enabled black and white but these sliders are actually really powerful because they can control which bits are being brightened or darkened based on their original color in the image so as you can see in here there's blues and greens and magentas and so on down here not just the yellows so as i pull down the blues the greens and the magentas especially that one there if you just see there this one flagstone here as i pull it down we darken that area here so i can use this to say everything that was genuinely yellow and red and that bright orange light keep it where it is everything that was another color pull it down make it less distracting so we've got that um that roadway in and if i were to undo this and read it you can see the difference it's very subtle but it just gets that sheen away from the floor so that we're looking down um down the corridor um okay and then michael's just asked this before and we're going to finish in a second so if catcher one selects a donor area for a heel which is outside your crop you want to change it how would you do it unfortunately there's a usability thing here uh michael so you would have to go back to your pre-crop version change it um and come back in so i'll just show you an example let's go into there and if i were to choose a heel brush there and this was for some reason outside of my crop i can't quite get to it because the second i move my mouse over here it disappears i would have to go back to that original crop to allow me to go and find it um and if i may have even moved it too far yeah i've moved it too far out of the actual frame you'd have to delete that healing point and start again unfortunately it's something that i know a few people have mentioned we've just got to be careful with it um and i'm sure at some point it'll uh it'll improve somehow okay guys so that's the end of today um today's session david i think in a moment is going to be running a session on layers on the capture one thing specifically going into the use of layers in editing i think that's now but in the meantime remember you've got access into that facebook group where we'll have lots of arguments over pricing and all the other stuff that goes on in there um but more importantly we can talk about the challenges you've got with images in between these sessions remember you've got those youtube pro tips things that you can keep watching do send in more images we've got loads still to get through we will do but obviously send more in as you um have them ready so paul reefer live.wetransfer.com and in the meantime between now and this same time next week stay safe do what you're told and we will catch up in a week cheers everyone bye you

Channel: Paul Reiffer

Views: 4,259

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, Filter, Graduated, Masks, Natural, Histogram, Processing, Gradient, Support, Q&A, Lens, Edit, Levels, Adjustments, Contrast, Color, Noise, Upgrade, Software, Preview, 20, Exposure, Dynamic Range, v21, 21, Dehaze, Workspace, Cityscape, ISO, High, Rehaze, Reduction, Fog, Curves, Adjust, Black and White, Conversion, Keystone, Straighten, Straight

Id: s1EElNtJg7Q

Length: 62min 3sec (3723 seconds)

Published: Thu Jan 21 2021