Live Editing Sessions - Capture One 2nd September 2021

hi everyone uh welcome it's thursday again um just like it was tuesday two days ago um there's a pattern um evolving here i'm gonna stop saying good morning or good afternoon because for everyone it's different isn't it i guess when you're watching it as well it might be the middle of the night like alan um over in australia still um so welcome um we're going to spend the next hour as normal um so for those of you that have already been on here you'll know the drill we're going to spend an hour editing in that software capture one so a raw editor made by the guys out in denmark it takes your raw images from your camera takes that data and then we can manipulate it and edit it in a way that hopefully improves your images and you guys have been sending in images for me to play with hopefully improve if not then please interact as much as you want use the comments um as much as you can so i don't want this to be a me ranting out at the world session it needs to be you guys as well um actually questioning why are we doing stuff as well um and maybe there's something i've missed maybe there's another way of doing something please do join in and to that extent just bear in mind that everything that i say is about seven seconds ahead of you it's like a time warp thing so there's a bit of a delay with streaming which means when you put a comment in there's about a seven or eight second delay before um is actually relevant to me on a screen so i'm not ignoring you it's just the way unfortunately that streaming works so before we go into capture one itself um this is the version that we're gonna be running so capture one version 21 is the current version of software if you do not have capture one at all go to captureone.com download the free trial um it's free hence the name there's no restrictions there's no limitations other than it times out after 30 days after that time you can choose to subscribe monthly basis or buy a license outright or not you can choose to use another piece of software if you decide but for those of you that do have capture one just please please i always say this make sure you are on the latest possible release which is 14.3.1 so if you go to the about screen you'll see that box just up there and if that doesn't say 14.3.1 you are not on the latest release version 20 which was the previous version so version 13 is still as relevant to 95 of what we're going to run through today there's a couple of new tools that came in in version 21 and obviously there's things like lens profiles and improvements in general but if you're on version 20 you're probably able to follow along if you're on an earlier version so version 12 because it skipped to skipped a few or 11 or 10 or whatever you might want to consider updating um to keep up with where we're at so without much further ado apart from us what on earth is going on so half of the u.s on the west coast is covered in uncontrolled wildfires the other half of the us is covered in um uncontrolled rain and storms and stuff it's kind of they need a hose pipe from one side to the other or something this is nuts right now anyway um so for those of you in the u.s um look after yourselves whichever side you're you're working on um but hopefully that gets a bit better um real soon and that said let's go into something a bit more calming than storms and fires which is chris's shot so a city shop um at night obviously i just want to check something so it's a sony a7 3 a7 r3 i'm guessing um so i'm not sure whether this was taken from a drone or from a plane iso 100 suggests it's a relatively long exposure so it could even be at top of a hill but i don't know what city this is um so i'm gonna we'll go with it's a city um and we'll start editing away on that basis so the the city itself um no problem um what chris was asking was two things actually one how to deal with this moon flare and two where the dehaze is the right thing to do over the city lights over here on the left hand side so if we do a quick before and after so in capture one we've got the option up here the before and after button if you don't have that option or any of these options if you want them go to customize toolbar with a right click and you can drag them up in the order that you want but before and after is really useful because we can do this quick slidey thing which allows us to see what was there in the raw data and what's there after the edits um yes sorry i forgot to mention that good point um davis david mentioned to me earlier so the the storms are so bad that the capture one webinar this afternoon as i think had to um be postponed i think joe's all right for power but the internet has just not been working for for a few days and stuff it's it's nuts but anyway um so hopefully that's been rescheduled for next week hopefully um so hopefully things are a bit better by then but there we go um that means that we've got mr grover on here because he's got no webinar to do himself so he can niggle um so let's have a look at the before and after thing gives us the the fact that we've got some adjustments here on our after shot and we can have a look at the raw data here now if we look at those adjustments they've been added in layers so chris has done absolutely the right thing we're able to see the layer that he's added for detail and let's just put our slider across i'm going to press m on the keyboard so i can see the mask so on this layer we've got a layer over here with some clarity and structure specifically on the reflection if i turn this off and on we can see what's going on there let me press m on the keyboard for mask again city lights over here and this is where he's done the structure and the mount um so we've got in there some uh some some pretty big changes in there you know but the dehazer 53 is quite a quite a strong change and if i turn that off and on again you'll see how clear that's become we're going to come back to that though the top gradient is basically to darken the sky and that's having this effect here on this sort of halo around the moon so we get it a bit more um clear as a result of adding a gradient and that gradient is just pulling down highlights and also reducing shadows so it's kind of shifting the two ends of the histogram now here's the interesting thing that's not the same as pulling our exposure slider to the left if i pull our exposure slider to the left all the values on the histogram shift by that amount so you know and actually a lot of people question this the scale um this isn't like a um i think lee filters used to or they may still do refer to things as you know 0.3 as one stop uh nd no one stop in exposure is one on this scale point three is a third of a stop there's no funny um grades or charts or anything like that so minus one would be one stop difference but that one stop of difference is applied to all of the histogram in one go by using the highlights and the shadows although it sounds weird to use hdr to recover highlights and push shadows off the other end what effectively has happened is you've pulled the top end of the histogram and you've squished it into the visible part and you've pulled the bottom end and you've pushed it off the visible part so it's gone off to the left but the middle stuff has stayed the same so it's actually quite a useful technique to know if you don't want to change the mid tones of the image using the exposure slider is going to do that because it's moving everything at the same time using the high dynamic range tool allows you kind of like in a curve and of course you could do this in a curve but you can just grab the top end and shift it in and the bottom end and shift it out and that's what chris has done here the bottom grad we've got a down here we've got a shadow lift to get some of this fog back up and we've got a base adjustment so rather than doing it on the background layer most of the base adjustments have been done here so there's a little bit of exposure change a little bit of shadow increase and so on but not much in in broad terms the background has has it how sorry had its white balance shifted fine with that actually i agree with it it's it's a bit sort of cooler a bit more night time but there's a couple bits that do sort of distract to me now what i don't want to do is start going into the realms of in quotes fixing these hot spots because this may be a flare i'm not entirely sure it could well be a light underneath but certainly things like this and things like this are coming from underneath their underlit areas of that cloud so you know i've seen people try and remove all of these things before it doesn't make sense because that is the city light that's lighting up the cloud from below so up here we've got a moon this is no different in the way that we treat a sun to the moon you've got a flare you've got some little spots coming out from the radial um and we've got actually a relatively nice sort of pinwheel at f5 that's that's worked out pretty well the only distraction i've got on here and to chris's question is this part up here i'm just going to zoom in so you can see you see these two strands here there's actually lots of other strands but these two are quite distracting and the reason for me they're distracting is they go towards the edge of the frame and what i'm thinking of is when this goes to print so in print terms i don't really want something growing towards the edge of the frame i want sort of finishing i want completeness at the end of it so personally and again this is this is all personal view more than anything i'm going to use a healing brush layer so there is no current heel layer on this um on this image what that means the same with a brush layer the same with a clone stamp layer with a healing layer the first time i go to draw anything with the healing brush it's going to automatically create a new healing layer for me if i did this and there was already a healing layer on the on the image unfortunately you'd find yourself adding to that existing layer now you might want that but a lot of times we don't the new heel layers are better they can do more spots or more more origins but personally i try to keep them a little bit separated still and what i'm doing on this layer and you'll see here let me just i'm going to clone the variant so that we've got a uh a reference to go back to what i'm doing here with our healing layer is just getting rid of these two strands now you'll notice i'm avoiding the stars in this image because what i don't want to do is start deleting stars the stars are in a set place everyone knows where they are it doesn't really work if we start to look at maps and then all of a sudden the shot that you've got of the stars doesn't match it but you can see here very easily with just those two clicks and actually i'm happy with where capture one has picked up the origins from um that was with the little flares and that's with them fixed and it's a small change but it means that there's less stuff going on as it exits the frame up at the top the dehaze down the bottom so i mentioned white balance before the white balance change that chris has done no issue whatsoever to me it's a good change if we just pull our slider across it's gone from this sort of slightly greeny tint um yellowy greeny tint to a more nighttime night sky look but these city lights have stayed pretty green um and and part of that is the d haze itself um if i go to our city lights layer and you'll see here it's gone from sort of a yellowy color very yellow almost to actually quite green um in in terms of how it comes across part of the reason is when i go to our city lights layer we can see it stripping out this color here which is the haze color but that strip out of that color means that if you look at this color itself it's a slightly sort of brownie yellowy color and as we strip that color away you're being left with the other colors that were there behind all of that haze and that's predominantly green once we take out all the yellow so to me yes you can use this city lights layer with just dehaze i don't i don't disagree with the use of that i think it's a good way of dealing with this but what i would do is use this tint slightly just to switch that there and what you end up with if i go back to our um so our previous one so chris's original edit on the right and the one with this change in white balance just on the city lights you see it feels a bit more neutral it may even feel a bit too pink so we can always pull that back a little bit but you're getting to a place where you know really we could um do that across the whole image oops sorry we could do that across the whole image but i don't think it needs it if we did that so let's just pull up this image on its own so our current edit on its own and if i were to pull up the entire image to be more pink we start adjusting look at the sky the clouds start changing color the moon starts changing color it stops being neutral so i want to keep our existing white balance that chris has already set which seems neutral you know the moon seems white the the clouds seem relatively gray if anything a bit cool um but this city light one i don't think it works with it quite so green what i'm finding and this may change um over time but what i'm finding is the more cities use leds rather than sodium based lights or halogen and whatever it's weird but when you start to cut the haze it used to be that the city would start turning very yellow and very orange now with leds it starts turning very very green so this reset here and and you can see there's the original there's the new edit it's very subtle but look we've got rid of this flare up here and this just feels more natural when it's set back to a slightly magenta tint more importantly away from the green tint that the d haze has delivered so really really one thing to take away on this one when you use the d haze tool be careful of two things the first is when you take away the haze you also take away some brightness haze is typically the brighter pixels certainly if i look in here um let's look at our d haze tool on its own let's just go to our city lights so we're going to take dehaze from 53 and i'm going to just put it temporarily down to zero you can see yes it gets clearer but it also gets darker and the reason it gets darker is because the stuff that was lighting it up was in part the haze the second thing that happens and can happen is a slight color shift as a result of removing whatever the shadow tone that either capture one or you have decided now the other thing as well just to really smooth this in because i've added in a color shift i don't want that change to happen quite so quickly from this here with a different white balance to what was above so if ever you're doing white balance changes like this and down here doesn't matter so much because we've got this nice crisp edge of the clouds but up here just be careful and use your mask but add whether it's a low flow or whether it's a low opacity doesn't really matter but use a little bit of a smoothing effect of the edges just so that it doesn't fall off a cliff effectively straight away for that change in white balance to be a bit more subtle as it goes back to what was there originally uh joe's saying i would crop a little tighter um i yeah maybe i my concern with it is is actually where do you where do you lose because i don't want to lose the city i don't want to lose the moonshine i don't really want to lose this bit down the bottom that's kind of cool in there if anything what i'd be tempted to do believe it or not is actually add a doubling down on the city lights layer um at the moment i don't think we're actually quite a 100 i know we are 100 okay so i'm just going to actually add in a new layer just an extra bit over these lights here and again using a low opacity just so that i can blend a little bit and with that actually add in a bit of extra contrast and a bit more dehaze in fact so that we've got some more i guess continuity between this bit and the bottom left here and this bit up here in terms of the crop though joe i'm not sure where you'd go because if i if i crop down here i lose the the moon which is probably the feature of this shot if i crop up here i lose the fog that's down here it's not going to be it's not going to work out too great um but those are the changes so for chris's question you know using dehaze on the city lights absolutely just be careful and i'm hoping now you'll all be able to see on the screen quite how green that city looked to me when you load up the original the chris sent in compared to now where we are or where we're at with a more neutral edit that's all it's just about shifting that color back to neutral because dehaze has an effect on the perceived color um once you use it right let's have a look at earl's shot so oh someone i think it was either one or two times ago we had a little look at one of those i know there's a few few sessions ago um in the woods um so this time we've got one that's in the uh in the water now the question is how to get the detail out of this waterfall and what i'm gonna go through now is everything that i would normally tell people not to do with clarity and there's a reason why it works on this shot but it doesn't necessarily work on other ones so if we think about what not to do with clarity if you push clarity too high and those of you that have been on here for a while will know my my stance on this and i'm going to use an example let's pull in here i'm going to create a new brush layer 100 100 percent and let's just add in a load of clarity oops sorry i'll desaturate let's create a new layer a load of clarity all over these rocks right let's put it up to 100 as we wouldn't normally do now what do i get as a result of putting it up to 100 well a couple of things i get some halos that i don't want i do get a lot more detail um we're at 300 percent so we're you know i'm not expecting it to be tack sharp at this point but if i look at without and with i get a lot more structure a lot more sort of contrasty detail content you know good stuff in that but at the edges specifically around things like here where we've got a high contrast edge we start getting these halos and the halos are a big giveaway that you've overdone clarity and that's generally how we can spot it for a mile off frankly and if i start painting in clarity all over this image you're going to see these halos popping up around those contrast points now we've got another image that we'll come on to in a minute because um someone else had a challenge with with clarity and fixed it which is great but this is why we often say don't you or don't overdo clarity because you're going to get these wherever there's a contrast point between the dark side and the light side you're going to get a light halo on the dark side you're going to get a dark head on the light side and stuff gets out of control very quickly now with a waterfall i kind of don't mind if there's a halo around the strain or the strands of the bright parts of the water and i kind of don't mind if there's a dark halo on the strands that are darker around it because if anything it separates things out so let's use that same one a different layer but the same principle so 100 clarity over doing it of course and draw over the water just the water now i want to be careful that i don't go over things that i don't want to halo out and things i don't want to get a lot of noise pulled up so the things that come with clarity that aren't great noise can come up halos can appear you can get this sort of art of these jpeggy sort of artifacts with with strange little jagged edges and stuff like that that's the why we don't want to go beyond the water but with the water in the water look at the difference that clarity is going to add for you now the thing to be careful with here is what field you want for the image so in earl's question it was how do i get more detail detail we're going to do now and you can see how and actually with with waterfalls like i'm saying you can push clarity a long way and it still works but if you want that sort of soft slow flowing you know milky water effect clarity is not your friend in this case so we're going to do this based on the fact that a wants detail if you don't want detail if you want that sort of ethereal look don't add clarity you're gonna you're gonna lose all the stuff that you built when you were trying to capture it so this shot already has a load of desaturation applied let's just do a quick before and after there's our before there's our after i quite like the toning in this some people would have converted it to black and white but i actually like leaving some of the color in here so the desaturation specifically on the waterfall has helped but also in the background there's a change in white balance as well and we've also got some bass clarity already installed um on the image so that's what's shifting it there but let's now add in the actual waterfall so we've already got this layer here which is desaturate waterfall we can and we will actually use earl's existing lemon will we hmm no we won't sorry because i want to come up to this twig in here so let's create a new layer remember in version 21 or 14.3 the new layer buttons moved from here to here on the right of the toolbar panel and your view mask button moved from here to up here on the viewer so don't forget that if you're ever lost because i still struggle every now and then um so we're going to call this layer clarity whoops with the right spelling brush with a very soft edge and the reason for the soft edge going back to what i was saying earlier those halos i want to avoid so we're going to go up here to a decent size and we are going to just start make sure my mask is on and we're going to start painting now that soft edge is going to allow me to get near and almost overlap in some cases to this big branch without actually going over it but the effect of that clarity is going to fall off before it's too late what we don't want is a hard edge on that clarity because the second we do that you're going to see that bump of where it began now if you cannot be bothered to fill in shapes right click on the mask go to fill and anything that's enclosed will fill in be careful you've enclosed it before you press the button down here i want the same effect but i don't want quite so much of that effect so we're going to drop this to 60 opacity so i'm going to pull this down here so everything i now do on this layer is going to apply to all of the red areas but it's only going to apply 60 to the area i'm now drawing in because i'm using opacity and not flow we covered this last week it means it doesn't matter how many times i go over the same area it's going to top out at 60 percent if i was using flow every time my mouse goes over the same area it's another little bit of extra pink and again down here i'm just going to add in that sort of sixty percentness and then we've got a little bit of fall off here so i'm gonna use a very low opacity and just add in a subtle extra little wing i guess over that edge and also into here just to blend in there so we don't get any halos okay let's have a look at our mask so i'm going to switch this to a grayscale mask so i can see that's what we've built so 100 effect on the main waterfall 60 on the bit to the left of the branch and then some bits of extra sort of fall off around it now let's turn up that clarity and now i've got a waterfall that pops i can also so remember with clarity it's going to effectively brighten the bright areas and darken the dark areas based on their neighbor in this waterfall you've got light dark like dark light dark but you also have a big mass of light light areas here so what you may find and we are in here is that that clarity whereas here let's just do uh without so remember as well in capture one anytime my mouse is over the viewer it's going to give me a readout at the top of red green blue and luminosity levels here we're at 249. okay when i turn this layer on we get to 253 so it's getting brighter and that's that's correct that's what clarity is designed to do it's not overexposed we're you know two five four two five five if i turn my exposure warning on there's a couple of spots there that are two five five whereas they weren't before so even with that clarity i'm still going to use my white slider the very very brightest parts of the histogram and pull it down until that exposure disappears so now i have a waterfall that hasn't clipped it's not at 255 at any point the reason i know it's 255 i think i covered this last week but in my preferences for exposure my warnings are literally set to 255. i don't care if it's 254 253 that's not overexposed 255 is so i know with my exposure warning on we have no areas that are overexposed we have a lot more depth in terms of the strands of water and if i want even more i can use a bit of structure not too much again i'll show you why not zoom into here that's with too much structure and you can see all of this graininess that starts to appear here's with less structure and then the medium is probably around sort of 20 to 30 something like that that works pretty nicely so now if i go to before there's earl's original edit and after if you want detail in a waterfall that's how to do it if that's too much detail well really really easy you've done it on a layer so we can pull back our opacity and here's the other fun one let's clone this variant again and if i inverse the clarity and inverse the structure we now have our soft waterfall so remember what i said about if you want that ether looking thing then clarity is the worst thing you can add well for sure with clarity we can also take it away so we go earl's original more detail on the waterfall less detail in the waterfall so three options all effectively from one mask which is pretty nice pretty neat um so yeah on that basis um let's uh let's have a look as well i think we're i think we're done was there anything else i'd want to add we may you could could play with d haze in here if you really want to add in even more detail the problem with dehaze just like before with the city stuff it can also end up effectively reducing um your brightness and and in here we get this pop and remember i mentioned about a color shift look here just over this rock that's the d haze doing that so as a result of getting rid of this color we start to add in this sort of brownie color up here or this yellowy color up here based on what it's removed out so just be careful with dehaze that you're not pushing too much at any point if you do get any of these borders appearing just go back to your mask and just with a very very low opacity or low flow of your choice um just blend it a bit more away from the hard edges and that'll start to make those borders disappear those borders are basically halos and it's where it's joining an edge with a big contrast difference so again repeat opacity on a layer allows you to control how much of the effect that we've dialed in applies but with that same layer our waterfall there with clarity and a bit of structure we can go from standard out of camera more detail in the waterfall less detail in the waterfall but in all cases not delivering an overexposed shot in any way right um oh cool you look happy i'm not putting that on the screen that's a naughty word um but yeah it is cool if you can play with it so waterfalls are good to play with the same with clouds sometimes if you've got storm clouds clarity is great on it so you'll hear me say quite a lot don't overdo clarity and now i'm showing you an image with a hundred dialed in on clarity but i'm not dialing in on the whole image let me just uh clone this variant again i'm being unfair because i'm going to do it on the whole image over the top of our existing thing but if i were to do on here this starts to look too crisp almost we lose the naturalness of the original shot it becomes and you see these glowing areas around it so just be careful with doing it on the whole image but doing it selectively just on the bits that you want contrast in great great move but do it knowing the risks especially around other contrast points michael's shot next so black and white mountains um so they started in color let's just do before and after if you can't be bothered to click up here for before and after just press the y key on your keyboard and it'll uh it'll do that it's also sometimes if your before and after is over here oh this is gonna sound bad and you're feeling really lazy just press y it makes the before and after go away and then press it again is in the middle um so if you do it really quickly i reset my before and after in the middle just press y done um so before we go too far one question mr sunbeam um is there any option to change the way how affixes are added to existing files to make them dash one or underscore one and not one i uh i don't think you can because i think the suffix is controlled in part i may be wrong but in part by the operating system um because the suffix yeah so for instance on a mac um when you save a um a file or if you copy a file into a directory that's already got the same suffix i think it just adds a space one um rather than dash one or underscore one maybe that's one to add in um for the future i mean if you know that you're exporting a second batch to an existing folder of course you can actually add in as part of the naming format you know you could put in underscore 2 or whatever and it will do that to this batch of exports but if you don't want that and you want to just rely on the existing file suffix i think it's going to do what it's told by the operating system um unless you tell it otherwise that said support.capture1.com top right i think it is um feature request put it in um i think is a valid request actually uh to be able to change the suffix if you can't already i'm pretty sure you can't but it's probably worth having a discussion with the guys um but not as it's not a crash report it's not a support thing it's a feature request so put it into the um the feature requests area um jerry before i move on so the subsidies of using tools carefully yeah it it is um and and what i i try and be careful sometimes when i'll say something like you know there isn't a rule in fact but i'll say to people you know do not put clarity above typically 30 to 40. that's probably the maximum you'd ever want to push clarity to because things start to look unreal that's true of this shot but the waterfall already looks unreal you don't see a waterfall like that you see the water falling so we're creating something that's not real already so it gives you a bit more latitude to play with some of this stuff and and clarity in certain cases you can push it up and up and up and actually here's a real scary one i'm just going to remove your comment a second jerry just to see um watch this so if if 100 clarity isn't enough or minus 100 isn't enough new layer copy mask from clarity there's another hundred new layer copy mask from clarity there's another 100 we could go on for quite some time new layer copy mask from clarity another 100 you're going to end up with a pretty horrible looking image but in any of the tools that you have and i'm going to regret saying this i know when i see some images sent in in future but a hundred isn't necessarily the max and it's the same with the hdr tools so high dynamic range can recover highlights to let's just do a uh do it on here recover highlights to minus 100 but it doesn't have to it can do another minus 100 because all these layers are compound so they're cumulative the effect of them so you can keep going and you can keep on adding more and more hdr now i wouldn't suggest that we do that in general but there are certain cameras where the hdr slider at 100 hasn't maxed out the full dynamic range you can pull more so you can especially on cities at night you can you can pull more um of the whites and the highlights by adding another hdr layer on top and pulling it down more please be careful but yeah you can be very subtle with the tools but you can also use them to really really push things if you need to if you need to question being do you right so let's get back to michael's michael's shot uh let's have a little look at what's already there so it started out as a color shot um and michael's looking to try and increase the the separation i guess of these layers and try and make them a bit more a bit more vivid and stood out and it's actually a good job already um so we're in a good place in terms of what's already there um we've got a very very dark foreground here you know soft midtones as i move my mouse around just like i said just now look at these numbers at the top so here we're at sort of 50 quite the dark area and remember as well you've got the orange bar across your histogram telling you where that area is here we're in the mid tones you know one two five one two six almost bang on the middle middle gray here we start getting a lot brighter and then here it sort of all falls off and we don't really have any highlights in this shot we can see that from the histogram as well now the histogram of course is showing us the output so in other words even though i'm looking at the before the histogram is showing us this which is why i'm not seeing a red green or blue a lot of people get caught out by this by the way if you have your before shot across here your histogram is black and white was because your histogram is showing you the output of your edits and if you've done a conversion of black and white that's what's there your levels tool will always show you what's originally there the input of your edits and so does your curve so these two will show you effectively what was there in the baseline data the histogram at the top is almost your output readout so it doesn't matter what your before and after tool is showing the top one is always going to be what you're actually going to get so in this one let's have a look at um what we need to play with to maybe separate these out a little bit more it's just a touch i've just seen one question come up and i'm going to cover it before i forget because it's a it's a huge misunderstanding and i don't think um it's quite landed yet so this pro standard profile is there anything coming soon for fujifilm no because you already have them is the answer i keep seeing the question come up about why why can't i have pro standard for fuji um the pro standard profiles were the it was basically a catch up so you had a load of existing profiles that had been in place for all different cameras including phase one's own cameras um that were based on principles from i don't know how many years ago but quite a few years ago and what happened is over time the guys realized and then the the team and i know david ran a session with some of the developers realized that we could get a bit better with color management so they re-engineered they hand-crafted the profiles and effectively so that you don't upset people's existing edits you can't just replace the profiles you need to call it something that's different to generic or standard or flash or whatever i think what was it used to be called it may still be called but um uh well yeah generic so you can't call it generic generic two also doesn't really work and actually that the point being that the team are really proud of what they've developed they've created a new standard of tools um sort of of color control um and capture one's really really good at color rendition so they've named it pro standard what effectively that means is a hand cranked you know there's a lot of time and energy built around these these profiles and they have to catch up with all of the cameras that are already in existence fuji has hand cranked profiles so when you load in your fuji um your icc profile for your fuji camera it's either take well in fact in terms of curve you've also got remember the fujifilm simulations and curves but that standard profile when they did the work with fuji already pulled it across so it already had effectively a better rendition than what all the standard cameras had so i keep seeing all these messages saying can we please have pro standard for fuji you've got it effectively it may not be called pro standard and maybe there will be an another better one that comes along in the future but right now the profiles that you have for fuji already so much better than what a lot of the older profiles were for other cameras that you're pretty much there um it's just maybe it's not flagged i did joke at one point um to to uh actually i was just said i can see him in his shot thanks so much um so yeah we've got the um the film simulations under your curves here this was all built between fuji and capture one to to make sure that the fuji experience was great um so you already have a great experience with that profile for your fuji camera um i i say i did joke you know what if we just renamed generic to pro standard would everyone be happy but that's effectively almost where we're at um i dare say they will get better over time and i'm sure that fuji's will have some releases that come out but um i'd don't let it stop you editing don't think that you're getting something less than other people um you've got a great color profile in in your fuji images um and it's you were starting off from a better place than where a lot of other cameras were already um and another question just quickly we'll go before we go into michael's so how about enabling us to draw multiple radial mass on a single layer in a coming upgrade so i know what you mean christopher um i'm going to show you on my i'm going to sorry michael i'm going to ruin your image but there is a way of doing it it's just not very neat right now so if i wanted two radials on here let me just turn my mask on um i can effect oh no you may be right i was gonna suggest i can rasterize that mask and then i could draw another radial over here but of course i can't no you're right uh yeah um i know what you mean um i've done this before in a very very different way which is effectively now having rasterized that gradient mask really really soft really really big brush really low opacity and effectively we can build another soft radial in there but it's by hand it's not perfect it's not not ideal um i i get the the point i get the need um i'm gonna try and be clever there for a second but no it doesn't because unfortunately as you probably know the radial mask will replace anything that's on an existing layer but that's one way of doing it it's not particularly neat the other way is see if you can get um get something put in as a feature request prasad yeah you you were thinking along the lines i was um you can rasterize a radio gradient and then draw another but you can't um because the second that you use so if you use a brush over a rasterized layer no problem whatsoever but the second i go to use another radial mask it replaces the mask that was already there unfortunately so yeah um put it in um christopher as a request and tim has just guaranteed publicly that he's going to put the thumbs up thing on your feature request there we go um so and i probably would as well so yeah um put it into a feature request and see what see what happens okay let's have a look at then this this layer so michael's layer we've got a couple of layers already in we've got our first ridge layer here done with a luma mask so i don't know whether you use the magic brush to start with but there's a luma range on here which uh of course we're on a uh on a slightly earlier version which doesn't let me inspect the luma range um but we've got a luma range excluding anything but the foreground mountain we've got a second ridge which also has a luma range on it that luma range is excluding anything in the rear mountain and the front and then we've got a deep sky style brush over the top now although deep sky changes colors it also has a an effect of effectively adding in contrast the bit i'm not too sure about on this mask here michael is by not including these mountains here you can actually see where the contrast drops off if you see what i mean so i'm going to go back into our style brush go back to my deep sky brush and i'm going to use a softer version so just like we did with the waterfall for the same reasons a lower opacity softer brush and i'm just going to see my mask here i'm going to rasterize this layer because it's at the moment it's a gradient mask and i'm just going to get a little bit tighter and neater into these mountains i don't mind if i go over them a little bit because i'm at a low opacity so again this is about blending the effect but now when i go over them a second time i might want to increase the hardness just so it's a bit more accurate and just come into some of these sort of valleys and stuff here with that deep sky brush the reason being then i won't see that line across the image where the deep sky brush stops right now i mentioned earlier we've got this challenge where we're not seeing anything that's particularly highlighted but we're also not seeing anything that's really really shadowed and if we want to add difference between the foreground and the background absolutely use levels because that's going to allow us to stretch our histogram a bit further so on our layer here in fact we're going to do it on the background layer we could do oh shall we we'll do it on a separate layer so that we can like i said earlier i'm going to create a filled layer so that we can undo it to a certain extent using opacity so i'm going to go down to my levels tool now for those of you that know levels very well you also know we could do this with curves levels and curves translate histogram data so they take the raw data and they effectively map new positions so it effectively says for this point here what was let's look at our input and output down the bottom left over here what was 220 is 220 well if i click on a curve here and say let's lock that in the middle so what was one two nine is one two nine but here what was 216 is now going to be 232 let's say and what's the effect well it brightens those top parts effectively it's increasing contrast by increasing the luminosity of the top half of the histogram and decreasing it a little bit because it'll automatically counter it for you in the curve with an s curve so before and after and we start to get a bit more depth i guess in this shot and we'll come back to this this middle part in a second anyway but if i didn't want to do it with curves excuse me i can do it with levels because if i don't want to actually play with increasing areas through contrast on a curve i can just say well i want this bit here the brightest part of the data to be the brightest part of the image and i want this bit here the darkest part of the data to be the darkest part of the image and the way that i do that is i map it using levels so i stretch the histogram and say right what was 230 is now 255 and you'll see the histogram change and what was going to go too far don't worry 34 is now zero so what's happened is affecting in fact i can go a bit further still effectively what we've done is we've told capture one take that data that was in here and pull it to the whole length of 0 to 255 between the two this is obviously too much so instead we're going to release this back a bit so we've brightened the top half a little bit and we're going to release this back by quite a lot because i don't want the shadows to be so dark that we can't see the detail and instead we're going to use the middle slider so what does the middle slider do think of it like a mixing bowl where we can decide how much of the image is shifted to be lighter or darker from the middle so think about these as proportions at the moment the middle whenever you change levels watch what happens you see this middle moves to the left move that back go to the left hand side so as i move it that way it's moving to the right and the reason it's doing that is because it's the exact midpoint between the shadow and the highlight well i can shift our midpoint and this is something unique to levels one and curves if you want to play that game but this is something that you can't really do with the other tools because i can say right the stuff that's in the middle i want you to get darker so in other words look at these proportions one third of the image now sits in the midpoints to highlights two thirds of the image now sits in the midpoints to dark area or shadows so i can control how much of the mid tones sits where on the histogram so i can darken our mid tones i can release our shadows a little bit more and i can increase our highlights by using all three sliders in levels and if i turn that off and turn it on you can see what a difference that makes especially out here in the background let's just look at here this looks quite washed out with that change we're starting to get some of that detail back which is great so i haven't necessarily moved the entire histogram to have bright bright highlights and dark dark shadows although we do have if i move my mouse over here let's go right in up here we do have some areas like here which are you know 219 pretty close to a to the brightest part of the image i could of course use auto levels but remember auto levels a will only do on the background but b is always going to put this midpoint in the middle between shadow and highlight if you want to play with the midpoint how much dark and how much light you're gonna if you want to play with that you're gonna have to play with this manually and of course we're only talking about input you can do the same not in the middle one but you can do the same with the top on the output um so we can change it from being what was a four is now darker is a zero we can say instead what was a four is now lighter it's now a 45 or a 44. so play with levels please they're a really really powerful tool you can do most of what you can do in levels by using the curve it's just a lot trickier to do some of these midpoint adjustments if you get it wrong effectively now on top of that i've mentioned about this middle um middle ridge or second ridge as michael's called it in this ridge here we've got a bit of a hdr play we've got a darkening with the exposure but if i look at and i know this was shot at 5.6 so we are gonna have some difference in terms of um detail but it's almost like this back part of the detail is stronger than this middle part and the foreground is nice and sharp so we've got this sort of blurry bit in the middle which doesn't make sense if i go to our i just want to check my masks a second so i'm on the right layer uh i think it's this one yeah the add detail oh add detail on deep sky so in our background with a similar layer to the deep sky what michael's done is added in clarity and structure great deep sky also adds its own amount of clarity on top the first ridge has a bit of clarity and structure in there the second ridge has nothing so it's not a case of the second ridge has less detail it's the fact that we've raised clarity and structure on the foreground raised it in the background and done nothing with the one in the middle so the middle one frankly looks a bit blurry as a result so we can fix that but i'm going to show you something first notice this halo that popped up sounds familiar so this is overdoing clarity in the wrong scene so perfect example on a waterfall this works great on this scene where it's more subtle 100 clarity is not going to help you so we're going to back that away we don't want to see any haloing so between 20 and 30 we normally talk about that but what we can use is structure and structure is what's going to get us those details back and i'm not going to push it too far but we can probably get to sort of 40 to 50 something like that on this shot and you start to see that we get all of a sudden a lot more there's without there's width we've got a bit of a bit of a halo on that ridge there so what i'm going to do just like with the waterfall rasterize the mask and i'm going to use my brush low opacity low hardness and i'm going to softly softly blend in over this front mountain because i want extra detail in the front mountain no because i don't want those halos to appear on the lighter side of it on the second ridge and the reason they're appearing is because it stops so abruptly with that mask so if ever you see halos and it's it's something that's abrupt just be careful with it because it's it's that that's causing it now as a result of doing that unfortunately we've also picked up this exposure drop so i'm gonna maybe have to do this slightly different way which is actually to keep the exposure where it was because remember exposure does everything the whole histogram lights to darks and instead remember it's this mountain here we want to change those exposure values for the mid-tones okay where we heard that before well maybe the mid-tones on our levels might help i'm not sure um yeah let's have a little play so is our second ridge and we can play we can make our ridge darker or lighter independently because it's a mid-tone without affecting these dark parts here and in fact i'm going to pull that back there darken that second ridge that's looking okay i might want to back off that clarity a little bit maybe the dehaze but we get to a pretty good place there if there are any little nicks that we want to remove out then let's just go to our eraser tool um again not full opacity and just pull in some of these bits so i want a little bit of an overlap over the edge to stop the halo but i don't want so much of an overlap that i start blending the effect between two areas that didn't want them together but what i now get if i look at before and after it's just a bit more of a strong or heavyweight image the final thing to have a look at with this one is our original black and white conversion so in our black and white conversion it effectively takes based on color in the original raw data whether you want that color to become darker or lighter in the conversion so by way of an example there's a lot of cyan in this shot if i tell capture one that in the conversion cyan already michael has said make it darker minus 27 make the cyan lighter we will see the whole image is getting darker and lighter why because there's scion or cyan all over the image if i were to do the same with red i don't think there's much red in this image pretty much no change so these sliders are designed to almost act like a filter so when we're changing something from color to black and white we can treat different areas slightly differently so let's go for example on to this shot here so chris's shot that we started with if i go to a black and white conversion here we can see that on our blues which was the sky i can darken that way way down on our yellowy areas here we can lighten that up let's just do that there yellows and greens let's pull those up or i can darken them down as well so i'm controlling the tones and how bright they become as a result of their color that underlie what was there so in this case here most of it is in the blues but there is a subtle difference between the cyans and the blues the blue is very very um pronounced the cyan not so much so i can afford to drop that cyan down a little bit and lift our blue a little bit higher so all i'm doing is tweaking based on the color that's underlying some of these shots but this is how the black and white conversion works it's not a straight conversion if i just clone this and reset all of this this is what you get in fact let me just let's just reset the entire image click on black and white conversion that's what you get it's only when you start tweaking what you want capture one to do with tones like this that you start seeing the changes in the image and it's based on what color was there in the first place a bit of green look on some of these hills so what happens if i pull the green down oh not a lot why not let's have a look because actually look at those numbers red one two three green one four one blue one six eight that's more cyan than green in terms of how that color would mix out so that field is being picked up in the cyans not in the green uh effect out there so play with these please if you're doing a black and white conversion i'd i i hate it when i look at someone's black and white conversion like coder here and they're all zeros of course that can be fine there's no problem with doing it but it kind of tells me you haven't tried to tweak a little bit we haven't tried to play with shadow change um and tone change because this is the result that you get so if i go to michael's original again i've made very small changes here but if you look out in these hills in the background out here especially we start to see more detail more layering um than what you have before and it's using contrast for sure but it's also using the existing layer of deep sky and with that layer we've got some extra clarity we've got some extra structure as well in fact we can probably pull in a bit more structure there we could pull up some more contrast in the background but when you do that remember it's split it from the middle so maybe you want to pull your exposure in a little bit if exposure is too much then maybe use brightness which is slightly more tempered um than that but we get to here rather than here it's a subtle change but i think there's more detail in this bottom one than what you had originally up there but i wouldn't push it too far it's the uh is the overall view so um that's probably us for today i think we're gonna do three mid or three images but we've got michael's um cool little mountain thing um earl's waterfall where we can make it standard more waterfally more ethereally heathrilly whatever that word is um and chris's non black and white nightscape but most importantly with that sort of neutralization and correction down there next time we will start with dj's one because actually i'm going to come on to the fact that dj sent this in having watched one of the sessions and managed to fix the haloing that you can see on the bottom one with a much more natural look on the top so we'll start having a look at that at the beginning of next week in the meantime we did well most of you remember we did on tuesday a session with joe cornish i would encourage you to watch that's very interesting listening to joe's thoughts on the world as it were we'll do more of those with other people um as time goes on for details on that and what's coming up and getting questions in and stuff use that facebook group i know lots of you already do but please do um contribute with it um that also helps me steer the type of people that we want to bring on um to have discussions with of course you've got access to all of the pro tips things so if you want to learn more actually about what clarity does specifically and structure and sharpening there's a whole 15 minute session on clarity structure and sharpening strangely enough that covers all of that they're on our channel as well you can watch that to your heart's content please keep sending images in remember to include your name so no name no image this is the general rule but paul refillive.wetransfer.com send those in and we'll try and edit as many as we can i'll try and do more than three next week i'll try and hurry up a bit but in the meantime if you're in the us either keep carrying an umbrella with you or well maybe carry a bucket of water depending on which side of the the country you're on but hopefully that all gets better real soon um for the rest of you do what you're told by your respective governments and if you're allowed to get out and take some pictures and i'll catch you in a week for the next session cheers everyone bye-bye you

Channel: Paul Reiffer

Views: 3,638

Keywords: Capture One, Capture, One, Post Processing, Editing, Phase One, Capture One Pro, Examples, Training, Learn, Lessons, RAW, Photo Editing, How To, Guide, License, Variants, Clarity, Tools, Masks, Natural, Histogram, Processing, Gradient, Support, Q&A, Edit, Adjustments, Contrast, Color, Exposure, 21, Landscape, Curve, Mask, Luma Range, Style Brushes, Custom, Style, Brush, Upgrade, Layers, Luma, Range, Clone, Filters, Adobe, Lightroom, Highlight, Recovery, Sunset, LUT, LUTs, Grading, Colour, Editor, Fix, 14.3, 21.3, Radial, Magic Brush

Id: iB8fT7QvJ74

Length: 62min 29sec (3749 seconds)

Published: Thu Sep 02 2021