Live Editing Sessions - Capture One 21st October 2021 (14.4.1, Lens Profiles, White Balance, Curves)

hello uh welcome um welcome to a dry um back in my office um thank god from the other day um as claudius just pointed out so claudio's currently in low earth um i saw him yesterday um and yes it was the wrong timing for that session on tuesday with mr grover um because before the session it was really really blue and warm um after the session it was really really well actually after the session it was raining for about 12 hours but then yesterday it was fine and today you have perfectly blue skies so we all learn there we go um oh the bbc don't have to put up with that stuff anyway we tried we'll try it again another day but maybe somewhere with a little more shelter nearby that said uh today is obviously back to normal so we're back to editing we're gonna be editing for the next hour with that thing capture one and before we go into it today there's another update to capture one for those of you that didn't know um so capture one is currently on version 21 that's the major release update but when you go to your about screen so in capture one you go to the about um dialog box either in windows or mac you'll see a version number and that version number as of today the latest version should be 14.4.1 um we did a we covered i think 14.4 um a couple sessions ago that included the reintroduction of the export tab and also some other little extras but this version interestingly for some of you who have been talking about it for a while includes some lens updates some camera updates and amongst those lens updates is probably the most important one for certain people which is the canon rf 24-70 so finally for those people that have bought that lens there is a native lens support for the 2470 canon within capture one it's been profiled it's now available as fourteen four one there are also a load of other sigma lenses that have been added and an olympus one um some extra phase one industrial stuff and some new camera support so there's lots of other bits that have been added on but i know a couple of people were um waiting patiently ish for the rf 2470 to be added in that's now there so if you have version 21 make sure you're on the latest version which is 14.4.1 if you're on windows 11 this also introduces support for that so it's available today there's other bug fixes in there we always that thing bug fixes um there's a couple of crashes they fixed and a couple of random things but in general it's always best to keep up to the latest version that's the latest one as of today please make sure you're on it if you are on version 20 you will not see this update um so you're on version or software version 13 you will not receive that new lens support um with capture one the lens support goes with the version so as they release new lens support it tends to be on the latest version of capture one and they don't regress it back into previous versions same with operating system support so just be aware of that those of you that have version 20 you've got the option of upgrading at the moment and it will include an upgrade to version 22. uh those of you on a previous version go into your account on captureone.com and decide what you want to do if you do for those of you that don't have capture one at all and don't know what we're talking about it's a raw processing engine um in my view the best one that we can get uh it's available on captureone.com and if you want to give it a try download the free trial it works for a month with with no questions asked there's no limitations or anything um and see what you think so before we get in to capture one itself uh where are we oh is there any other way to edit multiple photos at the same time except speed edit i want to use the sliders um can we just do it okay we'll go into it the short answer i think for what you want to do is no um but we'll we'll have a look at what maybe we can do instead um so let's go into capture one we're going to start off with claudia's image um and this is this was yesterday i think um just after david and i were exactly the same place um so in answer to your question um let me just imagine let's just create some variants so i'm just going to clone this image a few times and let's say we wanted to change all of these images um exposure at the same time so if i click on here and click down to here and make a change to exposure you can see it only does this one here it does the primary um there um i i think you mean are we able to effectively do um every every image at the same time and the answer i think is unfortunately going to be no what you can do instead obviously is make changes to this one so we can say well let's do our contrast up our brightness up our highlights down our clarity up and don't worry claudia we're not going to leave your image like this but i can take those um changes and we can um we'll either do command shift and c or control shift and c or we can go to our adjustments menu and go to copy adjustments or we can click on this copy button up here and we can apply it to all of these other ones with the paste command so command shift and v or apply up here or the adjustments menu and apply so you can adjust them all in one go but you're not able as in you can copy the adjustments and paste them but you're not able to edit them all um in the same way unless you use um speed edit when that was kind of the whole point of speed edit which is i can select all of these and with speed edit i can make adjustments um just by using the mouse so um it is oh yeah is it is it the right thing i don't know i don't know whether that's that's gonna tick the box for you and obviously you're aware of speed edit um if that's not doing it for you then i don't think there's anything built into the system that's gonna allow you to do that but that is exactly what the speed edit function was allowing people to do which was select multiple images and then make the change all in one um yeah and prasad's point so the copy and apply to images there is a key thing here which is when i go to my adjustments i can choose which adjustments i want to actually copy across and paste so i don't have to take them all i can just so let's imagine i'm happy with all the color grading on all of them but i want to take the same clarity and the same exposure well i can copy just exposure and i can copy just where is it details that's it our clarity setting and i can just copy those two elements from this image and paste those two elements onto every other image so i can selectively copy and apply um certain adjustments rather than having to take the whole adjusted image and apply it um but the way to do it as as all in one big batch is exactly that with speed edit and with the speed edit functions uh that's interesting that we just crashed capture one ah cool um with a nice little uh crash warning so we're gonna reload capture one um hopefully that's a little bit of a blip let's just see come on there we go right we're back not sure what happened there um something very weird but we're back okay so um this image here i think that's a good start isn't it rain on tuesday oh okay let's move on let's do a little bit of uh let's do a bit of editing um before we get into that then let's just cover off some of these um so one question from barry there we are this would be great to have great to be able to do when pano comes along maybe we'll get it then ish um the only thing i'd suggest barry with pano is you you kind of want to make sure that you have the exact same suite of adjustments from one to the other so you don't want to be varying um so you know a different color tone on image a to image b but then have the same exposure so i get your point but actually what you really want to be doing with pano is choosing almost your middle image making all those adjustments and then applying them uniformly across the whole stitch otherwise you're going to end up with some blending issues if you do some of them the same and some of the adjustments are different it's it's going to go wrong trust me so it's there in that way for a reason but um yeah it's not quite um not quite for that reason or not quite for that purpose uh roger's just asking if if i make some adjustments on a layer uh can i copy the layer to multiple images yes you can so let me just uh just reclone this variant and let's create a layer let's say a quick gradient mask and we're going to warm up the sky for for no good reason we're going to make it look apocalyptic wonderful if i copy these adjustments so if i either copy from here adjustment copy or command shift and c go to these other variants and paste them and it will literally paste that layer if i try and paste them back to the original image it will tell me that it won't apply the layers that i'm trying to paste because you've already got it so it doesn't make sense so it's actually it's quite logical it makes it make sense but that that's exactly what the copying applies for it will take a layer that you create on one image and it will apply that layer as a layer on the others uh let's just get rid of those horrible sky ones um crash is normal with the current update no it's not that's the first time it's crashed um on me so far um hopefully that's the last but um yeah and actually there we go we blame claudio on it because this is olympus files always is olympus files that cause problems um right felix gets through some questions before we get editing um is it possible to return a file from a deleted catalog if you delete the file from disk no um so if you just delete the file you will find it in your catalog trash uh in here not an issue but if you've actually deleted the file so when you either go to uh image empty sorry where are we delete from dish from disk or you empty your catalog trash uh you're gonna find that that file is not possible to get back and you're gonna have some problems so once you delete it from disk and capture one will warn you and it'll say are you sure you wanna delete it from disk but if you delete it from disk or delete the catalog itself no it's not possible to get it back uh right um let's have a little look so we're funnily enough having done that we're not going to actually edit this photo we're going to edit this one and there's a reason for it so these are both shots by claudio we're going to also touch on another one as well so this is mana wall beach this is a slightly wider one and i don't know what lens it's using and picked up because it hasn't got the information on it i'm guessing it's a manual adjusted lens or something um onto the front of his camera but this one being a long exposure whether or not it's got a filter i'm not sure i'm assuming it has because i can see some color cast so if you look at what is probably more accurate in terms of the sky color from yesterday because i remember it this here has a very much warmed and muted feel to it it may be color cast from the lens it may be color cast from a filter it may be color cast from an nd um that's built in but we need to fix that the temptation that people have is to go to our little dropper and say right well let's find something that's and it doesn't have to be white it doesn't need to be completely white it can be anything that should be monotone so it'll grayscale so in other words something that shouldn't have color to it it can be gray it can be white it can be slightly less than white but it shouldn't have a color tone to it um there we go it's good having uh claudio i'm sorry the lens warms up my shots and a bit of color cast on the filter so this is not unusual if you see this so let's imagine you've taken this picture without a filter you then put a filter on and it looks like this it's 99 of the time because the filter has some color cast it's not a fault as such it's not a it means it's not perfect as a as a filter but it's very normal um and it's why we can change white balance later it's why shooting in raw is really valuable because without the ability to do that we have problems changing that white balance so the picker if i choose an area that should be white well let's let's imagine so the cloud should be white yeah well that hasn't made much of a difference so what if i choose the water because the water should be white again not much of a difference this rock here well that's making a bigger difference this rock here maybe and i start clicking all around the image and i'm finding sort of random results from different rocks and different clouds even these clouds so if i click on this cloud here it gets cooler this cloud gets warmer this cloud gets a lot warmer so the things that we think are completely white or grayscale quite often aren't because they're bouncing back the light that you see so sunlight has a warmth or a temperature to it depending on the time of day this was i'm guessing probably the late or early afternoon i think um we'd expect the sky to be a bit bluer because the sun in this direction is behind um so we'd expect certainly less of this sort of yellowing color so we're going to fix it and we're not going to do it with the picker if you've got something like a white card in the shot use that with the picker if you've got something that is definitely grayscale or achromatic in that sense then use that with the pickup but if you don't and it's a natural shot sometimes you're better off just choosing it naturally and choosing a white balance that makes sense so daylight white balance typically is about five thousand or five thousand five hundred so around here that's probably a bit cool for this scene so we're gonna bring it up to maybe five seven that sort of does and then we've got tint now tint is a direct fix for color cast in filters typically the the cast in a filter um has a either a pink or a green tint to it and we use this to be able to pull it back down but in terms of how this feels and how it looks you can do this by eye and all you're looking at is whether or not the scene feels correct it feels realistic for that time of day and if i do before and after so press the y key on the keyboard or this before and after up here we can see it's a little bit of a shift but what a difference that makes from this sort of overly warm overly yellow feel back to something that feels more like a crisp october day just after a huge hurricane's worth of rain um so what about the other stuff in this image well we've got some pool down here and this is one of the reasons and claudia's just said it's a lower 7.5 mil there isn't a lens profile for that in here we have some diffraction in this shot for sure um and if i zoom in down here you know we're at 200 percent we're being unfair but there is some softness in here um there's also quite a lot of softness from memory out to here and this is diffraction um out here we're pretty sharp um we just lose it at the edges of the image now if we had a lens profile loaded in this diffraction correction would be a lot more efficient a lot more um on it i'm going to load in chromatic aberration as well that's going to fix any of those issues at the edges but what we can do with this because diffraction correction is not enough we can use sharpness fall off now don't overdo it like this you can see it starts to feel artificially sharpened you start to see some artifacts you start to see some edges that don't exist but if you use sharpness falloff to a reasonable amount less than 100 normally you can actually boost that diffraction correction especially in the case where your lens doesn't have a profile that has the correction loaded in so if you're using something like you know f 22 because you've got no choice let's say you you don't have a strong enough filter or whatever you're forced into a very small aperture you're getting some heavy diffraction but your lens is profiled by capture one in other words it exists in here then diffraction correction is going to do 95 of the job for you in sharpening that stuff up if however your lens isn't profiled you might find this isn't enough and that's where sharpness fall off can help not always but it can help and one of the reasons it's useful is because it sharpens the outside of the image without over sharpening the inside if you overdo this all you're affecting is the outer parts of the image not the middle part so you're not going to over sharpen the bits that are actually pretty good already so let's have a little uh look at the wider shot out here we've got some challenges with our highlights out here it'd be nice to see more of that sky some of the detail out here so let's just put in a very very rough graduated filter and i'm just drawing that line so this is our graduated filter tool on the left we've got a radial version and a straight line version i want to exclude this hilltop from what i'm going to do because we don't want to over detail the the hills so with that i'm going to use a loomer range our luma range allows us to exclude not shapes we could have done a magic brush on here as well but the luma range is the one that's probably the most powerful for us and if i put this to everything included you can see it's covering everything that was in the mask that i just drew if i start to exclude parts of the range note it doesn't know that this is a hill it doesn't care this is a hill it's looking for ranges of brightness and i know that it's the brightest parts of the sky that i'm worried about because they're the bits with the lacking detail so i'm going to make sure we're focused on the brightest parts stretch this fall off as we call it so in other words the rate at which that mask stops so no falloff becomes very binary very digital as i stretch this bottom thing out it goes from saying you're either in my range at 170 or you're not a 169 to saying actually at 70 or 69 you now begin being in my range you're starting to be included all the way up to 170 where you're 100 included all the way to two five five so that's what the falloff does i'm gonna put a bit of a radius to soften the edges and apply now with that mask now set i can then do some highlight recovery to get some of the sky back and you notice this is not affecting any of this stuff down here and i can also put in a bit of clarity to make the sky pop and if we wanted to we could even put in a bit of dehaze to really boost that of that sky up there and you see the difference between without that layer and with that layer but notice that we're not affecting anything else in the shot i don't want to put that same amount of detail and and huge amounts of contrast for the whole of the shot with all the rocks and everything i want to keep this exactly as it is if i start adding contrast the stuff that's in shadow will start to be darker the stuff that's not in shadow will start to be lighter in the sky that's fine but down here it's just gonna distract so that's why we've done it in two ways number one on a gradient layer and then number two excluding some of the rest of this hilltop here at the same time crop on here i'm just going to switch this so at the moment it's four by three switching this to be a three by two to me just makes it feel a bit more panoramic and i know that we're missing so as a result we lose some of this stairway but remember this was the area that's quite heavily diffracted on this lens so to me i'm not too worried about losing that bit and this just feels a bit more um i guess dynamic in that sense now in this bay here we could tweak this if you want to this is personal choice now nothing more so let's just do a new layer a quick radial layer into here when you draw a radial layer it's going to automatically by default to the outside inclusion and the inside excluded if we get that wrong you can either hold down the the option key or we can invert the mask once we've drawn it i'm going to make this a really really soft mask like that and in here in the middle we might want to pop our saturation just a touch and maybe we boost that clarity a little bit let's pull that saturation down a bit there and that starts to feel about right i wouldn't go any more than that it's just going to go go too much but that to me feels like it's a sort of complete edit so we go from there out of the camera to there let's just hide our little radial mask to there as a complete shot and to me that's probably a slightly more um exciting look at that show that uh that area uh so claudio even though i've just um pulled your image up um normally shoot at 5.6 but it still has some sharpness fall off and a bit of vignetting from the filter yeah they're normal things so if you know the second that you're at a smaller aperture in the second you're starting to put sometimes the filter holders have vignetting around them and everything um they're normal things to fix i wouldn't worry about it it's just knowing what to fix and how to do it why so much clarity you normally recommend maximum 30 i do normally the reason being because the sky here is missing quite a lot of detail and it can take it so what i mean by that is in a normal scene so let's go without and with in a normal scene we'd say be really careful with the clarity because you're going to start seeing haloing around objects well in the case of bright clouds against a blue sky that we're trying to make deeper as long as i'm not seeing any of that haloing aspect around here i can push it a bit further if i pull it down to 30 it's not going to do any harm and this is perfectly fine but in this case i think you can probably push it a bit more and you get a bit more texture and a bit more contrast up here on the top so it's not a why not 30 it's just in this case i think we can probably push it a bit further um jamie does sharpness correction analyze the image or is it just the same yeah so it's not analyzing the image um it is literally like a radial mask so what this effectively is is a radial mask of sharpness around the image or around the um the crop of that image um so it's not the same as diffraction correction it's not the same as chromatic aberration um fixing it it's not as analyzed as those it's it's fixing the sharpness falloff what it what it does seem to do and i've seen this is on certain lenses it seems to accelerate it more um than others but it's a little less a little less smart than the other ones from my knowledge okay um next one this is the place that i told claudio and magno to go up this morning and from what i can make out nearly one of them came back um because there was certainly a backpack falling let alone a person um so be careful when you're at the top of cliffs however really cool view when the sun comes up um over the coastline so i just want to pick up on a couple of things on here um this shot here obviously we can just pull back our highlights pull back some white and we get a lot more color out there um and it's a genuinely it's a nice shot um i'd be tempted given that it's pre-sunrise just to push a little bit of vignetting in there um just to make it feel a little more early hours sort of thing then that darkening around the corners is really nice but it's this one here i just want to pick up on because um and claudia you're not going to like this um this here is a lens flare this here is a lens flare this stuff here is dust on the lens so don't confuse the two um yes you will get a flare that comes away from a lens um typically in in one direction depending on how you're looking at the the point of light but um when you start to see these sort of mosaics and all these little dots of quotes lens flare they're not these are picking up bits of dust that are either on the filter or on the front of the lens um somewhere uh at the point that you're shooting into the sun so when you are shooting into the sun please please please get your lens and your filters as clear of dust as possible if there was one of them that i wanted to get rid of i'd do it with a heel but with this number i think there's just too many so what we have got down here is some genuine lens flare um and it's it's a personal choice as to whether or not you want to keep that some people want it all gone some people want to keep it in there it feels quite natural especially if you're looking into the sun here we might want to clean a couple of them up but just be careful cleaning this stuff up potentially losing detail in this bay what i would do with this shot however is warm it up a little bit and bring some shadows up so i'm tempted with it to change it from being a 4x3 or 2x3 to actually being a square image out to here maybe there and then i'd be in a place of let's pull up those shadows but more importantly warm up this shot and get us away from the green sort of color so maybe into there then we can pull on another layer and we'll call this layer sky with a nice little gradient filter in there we can pull down our exposure on the sky it's looking pretty nice again there's nothing wrong with adding a touch of vignetting you know the second you're in sort of pre-dawn that kind of works um and then overall we can put in a little bit of clarity not too much a little bit of structure just because we've got some of these rock formations down here so clarity is going to give you some contrast difference between areas structure and it's a mid-tone adjustment primarily structure is going to look at all the detail and all of the um the edges and the textures and especially with things like rock formations it's going to start to bring out those details really really well so let's let's be careful with it let's let's try and keep this down like claudia was saying earlier so sort of less than 30 normally if you push this too far you can see this goes very grainy and i'm going to be unfair and moving at 200 percent but this is what happens when structure is pushed too far you get effectively noise but it's not it's just too much detail it doesn't belong there it doesn't feel right so a little bit of clarity a little bit of structure but don't push those two um over the edge and then it's a case of just feeling or making this feel like it's um it's a morning shot and we can do some of that with our color balance tool so our white balance tool will change the overall warmth of the image so from cool to warm just gonna undo that whereas our color balance we can actually separate out and say well actually my shadows in this image to the dark parts maybe i want those to be a little warmer a little more yellow i don't know there maybe my highlights i want to cool down so that sky let's keep that nice and cool up there and the mid tones we can sort of move the feel of the image from being greeny blue up to sort of orangey up here and if i do a uh just undo that temporarily and redo it you can see it changes slightly these are all subtle changes nothing massive if i make the other um change so we go shadows to be cool highlights to be warm we get almost like a matted or fashiony sort of look but this is all down to how you want that image to feel whether you want it to feel warmer in the the highlights so you want the sun to really really glow in the orange you can do that with your color balance tool because you can isolate the color and the warmth based on the tone of the area of the image not just at a global level with white balance and it's one of the reasons that under style brushes so these were introduced a few versions ago the built-in style brushes under color you've got the warm and the cool but they're not actually changing white balance they're actually changing the color editor down here and that's why those brushes are there and they help you actually move the image to be warmer or cooler without changing the white balance of the overall image it's doing it through color balance um one where are we question uh tim one more thing about copying layer adjustments if you copy paste from one image to the other then want to tweak them more and copy paste them again you will get more layers yeah so be careful copy and pasting and then copy and pasting if you want to apply literally what you've just done so let's say you've got three variants a b and c you make some changes to a paste them to b and c if you now make more changes to a and copy them and paste them to bnc it's going to paste those changes on top of the existing ones that you made to b and c so the way to do it is to reset b and c and then paste them on so you're getting the full complement of changes from a into b and c without compounding them um on top of the existing changes uh and powell uh theoretically a layer with a radial gradient of sharpening would do the same with the falloff sharpness correction in theory yes um i personally haven't noticed much difference in that but yes um i'm sure there's possibly a small difference in them but absolutely if i were to draw a radial mask like this oops wrong layers create a brand new layer to do that first if i draw a radial mask like this soften it all the way so that we're getting a really soft fall off from the middle to the um to the outside and then with that radial mask i go into my sharpening tool and i pull up the sharpening let's do it too much so you can see um i'm just going to make sure that you can really see the sharpening so with this mask here as a comparison we've now got huge amounts of sharpening on the outside and no sharpening in the middle because of the mask that's on there that's effectively what sharpening um or sharpness falloff is doing and in the same way light fall off same sort of trick effectively it's an inverted vignette but it aligns to the lens um rather than aligning to the crop so light falloff and sharpness fall off this is one key thing it will align to the original image not necessarily the crop whereas your vignette tool you can set to do it to be elliptical or circular on the crop not just on the original shot okay i think that makes sense um if it doesn't um ask away and we'll try and cover it again um but yes you can you can do it yourself um that way but there's an easy way which is to do it in the uh the lens profile for those images where diffraction correction isn't an option because you either don't have the lens profile or it's not enough and you want to do some more so there's claudio's um shots i think you're still around i think you're still claudio's still somewhere around there i think he's watching live from in that building or somewhere um right let's move on to tony's shot so uh santan beach um tony's question was about this triangle here and i can't remember the wording you used tony but it was along the lines of these are this is an ugly triangle or something like that and i think you've tried to remove it here um i don't think the removal is that bad um i can see so when you look at it without the removal and with the removal you can start to see the artifacts of of where you've done it i can also see some repetition so if you have a look here these stones here are it into here capture one has tried to blend it a little bit but it's you're always it's got to take the source from somewhere so it's always going to do something um with it um so to me this is going to sound really drastic but i'm hoping it's gonna make sense i don't find this triangle here particularly off-putting this stuff here i find a little bit unbalancing and there's something um kind of weird about how i guess detailed the clouds are up here and how flat they are on the right hand side so my my instinct on this one is to do something that you probably don't want me to do but we're going to do it anyway which is to pick our crop tool i'm going to start with unconstrained so i've got need she knows um and i'm going to pull us to maybe there and there because i think and i it feels like that's a more calming image ideally we'd have a little bit more room on the left hand side here in practice we could actually go out to here and probably heal a little bit off just to give us a bit more breathing room so if i choose my source point here we can try and paint that in that's not a good source point but that's possibly a bit better there so just so we've got a little bit more room um for some breathing space for this pier here but to me if i look at our this one here which you have the the stuff fixed from just going to move these next to each other so they're easier to compare so here is our full width if you want to call it that and here is the the sort of much more cropped version this just feels a bit more calm because we don't have all this sort of chaos going on up here now forgive me because if that was the whole point and that was what you wanted to keep um then then absolutely stick with that and this heel is perfectly fine there's nothing massively wrong with it there were there were a couple of bits in there that i might want to like hear i might want to fix that because if i look at before and after it's got some sort of i guess added mistiness going over the top of this this stone which looks a little bit odd um but overall there's nothing wrong with this it's just to me this feels like more of a calm seascape as it were and i've got some more room now with this to take let's say a new layer and call it for oops sorry fuel ground foreground and with our foreground we're just going to draw a nice little radio or radio gradient mask along there and we're going to pull down clarity to soften it down even more to lose more detail if we wanted to uh we could even go again old school but go to our background and pull in a little bit of vignetting which gives a little bit more focus onto these groins down here not too much we don't we don't want the whole image to start feeling closed in and and too traditional but we can sort of pull that in a little bit there and i i just get to a place very quickly where this feels like a nice calm seascape this one feels like it needs as you actually said tony cleaning up but the cleaning up bit i don't think is this triangle of of pebbles that you had over here this actually feels or feels a little bit more orderly it's all this stuff over on the left hand side and this just feels a bit too prominent um or is there it depends what you were going for if you wanted the whole thing then ignore everything i've just said stick with this your heel is fine but you might want to tidy up some of the misty patches in there um if you want something a bit more calming then go with that one um if you wanted to you could put in a bit more texture into the sky but be really careful with it if you look closely in here you've got a bit of noise in this sky so if for example i were to let's say put in a new layer we'll call this one sky detail new gradient layer have a soft fall off so it falls off before it hits the horizon so in other words this is 100 50 by here no effect here and with that fall off let's just say i went into here and added a load of structure you're going to see this noise start to appear you see these patterns these artifacts and that's where we've already got some structure in the shot we've already got noise in there we've already got some clarity adding more structure is going to start to deliver those patterns adding a bit more clarity not pushing it too far and potentially a bit of dehaze let's just see without so without and with gets us a more thundery sort of look if this starts to turn a bit too blue well we can pull our saturation back so we go from there to there it starts to feel a bit more ominous a bit more um a bit more stormy but without overblowing it and without getting all those details and all of that noise picked up which which can look a bit distracting so that's where i'd be um as for the the triangle down the bottom um you know your choice if you want to leave it in or not but i don't think it's so much of an issue when you come into this crop because you're you're missing all of this stuff in the foreground and the distraction um and just we just have to accept that we've deleted a little bit of a stick there okay um oh um our random mountain shack in northern norway so the edit on here let's just go before and after so you can see so earl's edits you've got not much changed on the background layer there's a healing layer on there let's just put our mask on so you can see typically dust spots um hairs and random bits in uh out in this in fact i'm not even sure what you were deleting out there is it uh you've been deleting wildlife or something i don't know there was something happening over there maybe ducks um yeah get rid of ducks um so some base changes for the healing layer um there's our sky layer which has on it all of the detail brought back so as it was sort of out of the camera with the changes that are made on the other elements of this especially the foreground and and the the overall change of the image you lose a lot of the detail in the sky so there's a second layer on here the earl's built which has a luma range just like we had before so if i press m on the mask we can see so it's not just a flat drawing over the sky there's actually a range that's selected in here so we're ignoring anything else and with that range what we've got is the highlights pulled all the way down to try and get some detail the problem with this is there's not much detail to start with so all we're actually doing if you look at this is pulling down something that was very white to now be something that's very gray and i'm not sure you're gonna get much better than that to be honest so i think i know your question was you know can i um can we enhance the the sky and the mountains and so on from what you've got i don't think you can even if i pull down the exposure we can see it's pretty flat there's a maybe a little bump in there but there's nothing really there and whenever you're planning on um i guess bringing back detail in a relatively flat area one trick to do if you think it's because it's overexposed just pull the exposure down and see if there's any detail in there to give you an example let's go back to claudio's shot here i go new variant so brand new is there any detail in here out in the sky well the easy way to do it is to pull my exposure down and see what we have and the answer is yes there's huge amounts of detail in there compared to what actually was on the camera so if i pull my exposure down and i can see detail then we know that by putting a mask over it and using clarity and using contrast and maybe some curves and all that sort of stuff we can pull all that detail back if you pull your exposure down and there's not much detail it's still flat there's nothing to pull back um there's there's no detail for us to enrich so when i put clarity on think about what clarity does it looks for neighbors um of areas and it says right well am i brighter or darker than my neighbor and therefore get darker still or brighter still to drive contrast well in this case this pixel's neighbor or this area's neighbor is the same as its neighbors so it can't with clarity let's just i'll show you clarity is going to make pretty much no difference apart from halos around the edges so it doesn't make sense um to try and push detail where there isn't any and the test is pull the exposure down if you can see any then i'm sorry i say that pull the exposure down if we're talking about shadows pull the exposure up um if there's no detail when you pull the exposure up you're equally not going to be able to do it to a shadow as in this case we can with a highlight so i would be really careful um yes we can pull down the highlights yes we can pull down exposure but in this case oh i don't think you're gonna pull in any more detail what we can do however is is maybe adjust this mountain to match the tone that you wanted in the foreground because what we've got here is a mountain here which is very very cool but it's cool and it matches the light that was around when this foreground was taken so you see it's a very blue image well with the foreground adjustment in here we've got a little bit of a bump to this front here and we've got a change in our white balance which has affected quite heavily here and it's turned these mountains by warming up the the um the overall white balance we've changed the the mountains from being that cool blue to actually a slightly greeny color and you can see in there it's not quite right it doesn't look quite right to the eye because of this foreground difference so with this one here what we're going to do is we're going to draw in fact let's try something fun let's use our magic brush we haven't used that for a while so new in 21 0.2 0.1 something like that happened a while ago we have magic brush i'm going to make our brush pretty big um and i'm going to brush over here um i hope oh yeah it did a good job okay so magic brush has picked up on the fact that i wanted the mountains in the sky it said i'm guessing you don't need this house um let's just add a bit in there it's picked up a bit better a bit on there and it's good it's it's excluded the um the reads and out here when i was drawing this i didn't have a huge amount of tolerance and i didn't have a massively soft refined edge so if i now go into these areas here and think um this is a bit sharp so for instance if i start pulling down our exposure you can see the sharpness around these bits that are excluded is quite obvious let's just go into here this is what happens when your edge is too sharp not refined enough so on magic brush itself when you're drawing you can change the refine edge with each brush stroke don't worry if you didn't though because you can still go into this layer and go to refine mask and we can soften those edges with our refine mask option later so we don't have to do it at the point that we do magic brush we can do it later on as well and in this case that works just great so with this i'm going to reset our exposure we're going to call this one sky and mountains and these mountains we're just going to warm up a touch and the sky and bring our tint away from being quite so green and then punch in a bit more clarity maybe a touch of structure but most importantly a bit of dehaze and we can see the haze color here is in this mountain area so if i'm not sure it's that blue well let's just choose a slightly different blue it guessed it pretty right and we can just start to clean that mountain up and make it a bit more obvious let's turn that off so you can see so that's without and that's with and it just feels like that scene is more aligned the white balance is consistent throughout the scene rather than without it before you can see that difference um back to forward or back to front if you wanted that difference again like i said this is one take on it so that's what i would do personally but if you really wanted that difference between the two then keep it as it is but if you want to be able to bring the mountains to be warmer and more aligned with the white balance of the foreground in this shot and on its own you're not able to do that in one go because the mountains literally look cooler in the background than the foreground so if you shift the white balance to make the mountains look warmer the foreground is going to look too warm if you shift the foreground to look a bit cooler the mountains are going to go too cool so we need to separate them out quick way of doing that is literally magic brush and paint on the mountains and the and the um and the sky uh a couple of questions then before we get too far away jim paul's next one stormy and thundery do you know what you there was one point and i'll tell you all this now because i'm still not over it there was one point where i'm holding two umbrellas horizontally holding on to two no three tripods 4g um broadcaster things webcams and whatever else while david's filming me not putting stuff away filming me looking like a fool um anyway uh moving on from that horrible part of my my memory bank now um so press out clarity color saturation and texture stumps to get some prop um i'm guessing you're talking about tony's shot so yes you can but just be really careful um we talked about calming and we talked about you know getting the flow and and texture in the sky but not making it too much of an assault on our eyes so i'd be in a place here i've just cloned that image if i start to draw let's let's do the same thing so let's just draw a very rough mask um 100 that's fine i'm just going to draw over these stumps doesn't matter that i'm out because i'm going to use that same tool the luma range i'm going to include everything that's dark and exclude everything that's bright which will start excluding the c nice soft fall off and a bit of a radius it's looking good apply that now i start using some clarity and some saturation what else did you say color well we've already got color on there um gravity and texture so our structure yes it makes these pop but i think that becomes too sharp too contrasty too saturated if i turn this off that feels more in keeping with that scene it's a bit more muted so i would actually be tempted if we're going to do this and separate them out rather than doing it to a positive i'd actually do it to a negative i'd reduce saturation on those stumps i'd maybe even reduce a bit of clarity maybe leave some structure on there but almost faded away a little bit so it goes from being that rich green to being slightly more muted so it's more in line with the rest of the scene so yes by all means use those tools but i'd be careful not to push them too much the other way when you're trying to look for something that's quite a calm scene um where are we uh paul has just said if you counter a layer with fifty percent of the structure another layer with minus fifty do you effectively get no effect at all yes you effectively get no effect at all um so it's not like the mark so remember we're always dealing with the raw data underneath so even though you're adding um or you're taking off you're adding structure let's say 50 and then you're taking it away in theory if you think about it like a pixel editor the taking away has come from the added version so you'd get a load of artifacts in a raw processor it doesn't quite work that way so you can add 50 structure but then take away the same 50 you'll be back to where you started without um i'm hoping that makes sense um right oh yes uh afraid of that it was very flat um so back to here yeah i if the sky is flat the sky's flat and that's okay but then use that as the the feature you know the cool thing here is focusing on this this shack so you know use that and again going back to what i just did on the other shot i don't think there's a problem with playing with a little bit of split toning on this so we could let's just add a filled adjustment layer um and let's with the overall shot what if we play with our color balance a little bit and you can do this with styles so if you've got for instance um are we styles let's go into well nordic actually this is northern norway right so um let's go into let's pick on helsinki even though it's norway um so let's let's apply um i don't know maybe oslo actually not the danish look we're not going for that let's go for oslo um maybe a little bit of that i'm going to right click on the style apply it to a new layer that means that i can change your opacity from not affected to being fully affected so a little bit of that and then i'm going to go to my color balance tool on that layer i created and shift our mid tones to be maybe a little bit cooler a little bit bluer maybe there our highlights not too pink maybe up to that sort of yellowy color and then our shadows let's cool them down a little bit there so i go from there just clone this so we can see and compare so the version with the color grade on it is on the right the version that we'd edited just now is on the left and it's just cooled down some of the wood it's it's made this red a little bit more muted than where it was before um but if i again look at this one that's now edited to the original there's not much wrong with the original that's the key thing it's just there is a disparity between the the background mountains here and then here in terms of how that light's falling on it but it's a nice edit already or i wouldn't worry about it too much um it all sort of works uh lots of we've got lots of questions today it's good could you apply a very localized curve for the sky to get a bit more contrast we can um let's just give that a go david so let's create a new layer and we'll call it david's sky um i can for example let's just draw a very very rough i'm not gonna we could exclude the mountains if we wanted to but for now there's our mask uh in our exposure tab we could go down into a curve and let's just see so as i move my mouse around the sky we can see on the curve where it is it's all of this stuff here so you see my orange bar moving around it's telling me where the data sits and in this case it's all of this stuff so i now have a mask that says only affect the sky and in my curve i'm going to go into our luma curve and anchor some points in so what i mean by that is force these not to change and then with this bit in the middle with just the sky itself we could darken the darker parts and lighten the lighter parts so we get a little bit a little bit of structure it's not a huge amount but you can see here without and width so that bump that we saw before you start to see be careful because you're also going to see now some extra dust spots that all missed uh so let's go to our healing layer and let's just add a couple more because of course we brought out a little bit of contrast you're not going to get a huge amount more contrast as you can see and there's also another small problem which i'll show you in a second just going to get rid of those spots right the other small problem as a result of pulling up that curve we've now got some noise um it's a bit more noise than was there before but at the end of the day it's it's part of your decision making process if you don't want that much noise if we take our sky layer off it goes nice and nice and smooth again that micro change as david put it so in my curve you can see what i've done we've kept the curve the same at the top kept the curve the same at the bottom and in the area where the sky was alone just that sky area of tones we've darkened the darker parts of the sky and lightened slightly the lighter parts of the sky and it results in a bit more texture of course because we've got this layered we can go into our noise reduction and use noise reduction on this part of the the sky alone but remember noise reduction effectively blurs detail so we're trying to add contrast and detail then we use noise reduction to reduce it we get into that seesaw place but this is one way of getting in a bit more detail along here uh so i'm hoping that answers the question and actually david yeah it is a you know genuinely that is a way of trying to get a bit more out of a flat sky just be careful you don't overdo it because if you do um you're gonna see noise everywhere um just by trying by trying to force that contrast out of something that's relatively similar you're just driving noise in there most of the time um right let's see um send me the eip yes we'll send you the eips you can play with it um so i'm just gonna clone this one more time because keith just made a point which is what about cropping it differently my gut feel would would have been to crop it my worry with it is that this is going to become too close to the edge and it's going to start to feel uncomfortable so if i go to 16x9 we do minimize some of the sky but it starts to feel very claustrophobic very letterboxy whereas here i've got a bit more sense of it being outdoors we've got to we've got to keep remembering that there needs a sense of place i guess um in terms of is it a broad mass expanse of space in which case let's give it some breathing room or is it quite a tight and an intimate shot in which case we can let a box it if you prefer that crop great um there's nothing wrong with that crop it's just to me i think when we're talking great outdoors i want to give it a bit more breathing room um it just feels a bit better um alan the sky looks a bit too warm for me now well yep that's the beauty of having these different layers so we can absolutely go on and say with our sky and mountains let's just call that down a touch more there we go it's cooler cooler warmer up to you um but this is this is why we do it in layers you can decide how you want this to feel overall if it's too warm too cool um entirely up to you uh where are we joe you've got to fix the water to the right as well it's got a different color yes that's interesting isn't it um let's just see and it's because our magic brush didn't include it so absolutely spot-on joke didn't notice that let's add in with our magic brush there and now we've got it back on track we've got a bit of an issue up here with those mountains so adding those in with our magic brush too so remember the magic brush is additive it's cumulative as i start to draw more points on it learns and it says okay you did mean that mountain and we get a much smoother result um overall but yes good spot joe you're right i missed the water on the right my fault um right uh i think that's it with the questions um oh here we go roger oh you were too slow joe beat you but yes walters to the right of shaq i did miss it so we'll we'll make sure we don't do that again not publicly anyway um okay we are running out of time for today unfortunately i know today was a bit earlier than normal but we've been yammering on for an hour um next week we will start with michael's shot this is a there's a challenge here with the highlights on some of these buildings as you will see in here if i turn our exposure warning on we've lost quite a bit of detail so we will start next weeks with that but for today we've got earl's random shack in the mountains tony's um i guess groins or bits of a jetty that we've deleted um just for a nice sort of seascape feel and claudio's two images um this one here where we remind ourselves he needs to clean his lens um if he doesn't do that today because i'm guessing you're going out shooting again today claudio to do that before shooting anymore especially into the sun and this one when you're using filters expect to have to look at the white balance and don't always rely on the auto white balance because it's not going to always get the the right answer you sometimes have to use these sliders to get it to feel how you remember not necessarily um what the program thinks is grey that's the key part right with that all said reminder um if you are on version 21 please make sure you update to 14.4.1 um that includes a load more lens profiles we've discussed how important lens profiles are it also covers windows 11 and it's also got new cameras on there as well as some bug fixes so do please keep up to date in the meantime between now and next week's session um we will continue on on the facebook group if those of you that want to see the the horrid state of david and i trying to broadcast in frankly a hurricane the other day um the pictures are on there it's not pretty um but between now and then please make sure you keep sending in your pictures um so poryforlive.wetransfer.com must include your name if you don't then we can't include your picture really simple rule but please do continue uploading them we will edit as many as we can let us know either if there is an issue or you just want to have a little play with it um in the in the notes on there and we'll get to them as quickly as possible between now and next week look after yourselves do what you're told by your respective countries and we'll catch you in seven days cool cheers everyone bye-bye you

Channel: Paul Reiffer

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

Id: cNiYtx7cPQQ

Length: 61min 31sec (3691 seconds)

Published: Thu Oct 21 2021