Live Editing Sessions - Capture One - 4th March 2021 (Including Soft Proofing and ICC Profiling)

everyone uh only joking oh uh capture one have not yet made an fpv version of capture one i'm afraid um but if anyone hears of anyone smacking a drone into the side of a rock or something over the next couple of weeks sorry it's probably me um so welcome to our thursday um i'm sort of excited to see all of your pictures but i'm equally excited to uh get outside and play around with something that flies so let's get on with today's session we've got an hour of editing um ahead of us all of that is going to be in capture one capture one being the piece of software that um is used as a raw editor so um an adjustment system rather than a system that is there to change content and pixels and if you want to talk about that have a look at some of the previous lives that we've done and you'll understand what we mean by that so for those of you that are using capture one the session today is going to be using version 21 so version 21 is currently at point 0.2 there are updates due later on in march but in the meantime that is our current version and that's the version that we're going to be editing with today if you're using version 20 not a problem um paul has just pointed out that that dji goggle thing has messed my hair up um so i need to be flying with an observer and a hairdresser at the same time by the sound of it um in future so version 20 um is just as applicable to most of the stuff that we're going to do today there were some introductions of new features in version 21 like dehaze um like the speed editing functions for workflow but in general terms um you're going to be able to follow along with most of the tools so before we get started um i just want to cover one thing which i think from memory it was ian asked i can't remember if it was if it was great if it wasn't sorry to whoever asked but it was about proofing and by proofing we're talking about the proofing that you do between your screen and calibrating that to your print output and maybe um there are some misunderstandings in how that works within capture one that might be confusing things i have to admit um so i actually mentioned to david grover earlier that we're gonna cover proofing um and in my head i was like well it's simple um then i got to trying to explain or trying to work out how i was gonna explain to you guys what capture one does and actually i can really understand why some people um get confused by it because of the way that capture one um actually manages it so the first thing to say everything that you're seeing in capture one live is a live proof in other words it is color corrected to your output recipe whenever you're in capture one so this version here that we're seeing at the moment is let's just have a look set to adobe rgb so i don't need to turn my proofing thing on up here whenever i'm in here it's actually under my view menu i've got my proof profile and it's based on the selected recipe so my selective recipe being tiff in this case a3 print which is using adobe rgb not a printer profile the standard adobe rgb where are these profiles stored well you've got a whole list of them in capture one if you don't see all of these profiles at the bottom of the screen you'll see one that says show all and you'll get them up there they come from either in windows in your control panel you've got um i think it's color manager or something like that and in mac you've got the thing called color sync utility and color sync utility is this this is where we load in new profiles so if i've got a display profile in here or maybe i've got you know cmyk print for a coated paper all of these profiles loaded in here are effectively mimicked in capture one under my icc profile so the one that i choose in here is affecting live live what we're seeing in our preview window so the viewer in other words if i choose a different profile either an icc profile or a different process recipe so let's just select this one this one is on coated paper so it's a cmyk recipe and you'll see it's gone a little bit more faded the blacks are washed out a little bit it's not quite as vivid because i'm hoping you can see that on the video um sometimes with color sync profiles it's difficult to display it so the reason is because capture one is now mimicking cmyk and there's another little hint as to the fact that it's mimicking cmyk which is my numbers at the top here have changed from red green blue to cyan magenta yellow and black um equally if i were to put a readout let's put our handy color readout on here in this case here it's giving me the cmyk references in this version which was set to adobe rgb it's giving me the rgb and luminosity references so capture one is reacting to whatever process recipe i have selected the default being for rgb so that's why we don't really notice any difference so if i'm in here and i start making some changes to i don't know let's lower down the shadows let's lower down the black let's and we can see it's reacting like a cmyk picture whereas that same change if i went back to the process recipe and switched it to the one with rgb then we're seeing it react as an adobe rgb file so very different so that's proofing in in theoretical terms in other words whenever you're in capture one viewing through the viewer you are seeing a proof based on the process recipe that you have selected here and the default is always going to be rgb of some sort whether you've got it set to srgb or having it set to adobe rgb okay now here's where it gets complicated because let's take this same proof recipe and let's say i'm on my exposure tab and i'm zoomed in quite nicely here over this rock lovely now let's turn the proofing thing on now if you don't have this little option up here it's under the view menu recipe proofing and also i can go to customize my toolbar and you'll find it along here somewhere there on the left and you can drag that up there to proofing if i turn this on whoa what happened to my picture so it's proofing it still but it always was it was always proofing it to the icc profile so the icc profile happens wherever you are in capture one it's live proofing in that sense turning on the recipe proofing does something different though if i go back to my recipe this tif a3 print look at our adjustments and i've and to be fair i've overdone it intentionally i've put our sharpening amount on this output up to 961 stupid amount but when i hit that proofing button and i'm recipe proofing it's showing me what the output will be not just the icc what the actual output will be so likewise if i were to change this to say instead of 300 dpi at 40 centimeters let's say we did it at 100 dpi at 10 centimeters so all of a sudden at this is at 300 percent now 400 percent that's what i'm seeing is my output in other words it's the real output for that recipe with those resolutions and scales and long edges with that sharpening output with any adjustments that are made to it that's what this proofing icon does and it's the same one that's enabled down here recipe proofing i can change to choose a different profile when i'm outside of proofing mode like i showed you so if i go in here and say show me a different proof profile i can choose the cmyk one or i can choose the rgb one so i can force a profile regardless of what process recipe i've got chosen through this menu but when i go to recipe proofing or enable the proofing button on the top here it is showing me what the output is going to be for the exact recipe i have selected with the icc profile which it always was but on top of that any resolution changes so let's change that back to 300 and by 400 centimeters let's go way out uh maybe that was a bit big let's go for 40 centimeters that might help um and my sharpening and my crop so if i change it to square that's what the proofing is going to show me so uh there was a couple of questions in there so one was um what was it martin there so what's the significance between having a recipe ticked versus having it highlighted the highlighted recipe is the recipe that you are viewing regardless of whether you have proofing in quotes enabled or not is the recipe that you are viewing the output from now this is interesting so don't get yourself caught up with this you know in here i've got adobe rgb set but the image is flat and the image is in cmyk so what's gone wrong what's gone wrong is under my view menu remember i changed this to be a specific output so if i want it to be dynamic i go to selected recipe that means when i change the recipe in this box here it's going to automatically match that to my viewer here if i have this set to selected recipe then everything becomes dynamic if instead i choose a recipe then everything is fixed so it doesn't matter this one is now chosen cmyk if i choose a jpeg for instagram a jpeg full size a 60 inch print in adobe rgb it's not going to change any of this because my view is set up to be a set proof profile if i want it dynamic i go to selected recipe and that means when i change between recipes it's going to automatically choose that profile that's loaded now the difference between the ones that are ticked and the ones the highlighted the ones that highlights is your live viewer proofing the ones that are ticked apply when you go to process so i can process four or five different versions of this image one at cmyk one is rgb one is a quick proof or whatever hit the process button and it's going to do all of these so the ticks are what i want it to process when i run that recipe set the highlighted one is what i'm viewing in the viewer and if i turn on proofing literal proofing it's not just giving me the icc profile output it's also adding on to that the adjustments that i've made for sharpening for cropping for resolution and everything else like that okay um so it this is what i'm saying it's a bit more complicated than i think um it actually is when it's in your head and you you understand it in real terms it's very rare that you're gonna turn this proofing option on it is handy for being able to see what happens when you put output sharpening on but remember this version of the image that's in the viewer that's live is reacting by default to my currently selected recipe and the sharpening that i've done in here so remember your output sharpening is on top of any sharpening you've done to the image so do remember that you're still seeing a sharpened image here but it's based on the sharpening tool when i go to proofing mode the extra sharpening i'm seeing is based on what i've got here in my recipe that i've chosen and set for the output sharpening in there um where are we uh pablo i have to start again from the beginning yeah um on this one yeah just watch it back um basically the key takeaways number one whenever you are in capture one you are in a proofing mode in a soft proofing mode it just so happens that the default for proofing is set as the rgb for the standard process recipe output so you don't notice it really when you start changing some of your process recipes because you have your view proof profile set to selected recipe it's going to change the viewer based on what you do in the recipe you have selected if you want to fix it to always be the same you need to choose one recipe that's always going to be the same or you can choose this fixed one here which is adobe rgb which means no matter which recipe i choose capture one is always going to show me that rgb but to have it dynamic we get a selective recipe so in the viewer recipe controls by default recipe controls what we see in terms of the icc profile the second i click on proofing that's a hard proof effectively for the output based on not just the rcc profile but the recipe i've selected and its sharpening and its cropping and its file size and resolution um so there we go um where do you alan's saying where do you proof with the type of paper you're using so paper profiles are sat in exactly the same place um so under your icc profile you can also load into here paper profiles if you're on a mac then you're going to do that within the colorsync utility so you can load these in um based on display or paper or or even software profiles if you're on a windows pc you're going to go into control panel and into color management and you can load them in a lot of companies will have an icc dot icc file for your paper that's where you load it into when you load it into your operating system's color profile capture one will pick it up you may need to restart i think but you'll find it in your icc profile and you can choose it in there and what that means is when you're making adjustments just turn off this horrible sharpening um when you're making adjustments the adjustments i might make to a cmyk version of this image may be very different to the adjustments that i make to an rgb version of that image and that's why it's important to choose the right profile because this is simulating how it's going to come out on paper it's very slow because i've used a tiff file rather than a raw it's just being stupid really um but this is the cmyk output so it might mean i want to boost some contrast it might mean i want to brighten things it might be more i want to change some saturation but i'm now proofing the actual output based on these settings here um do you prepare your file for printing in capture one or photoshop affinity so i produce tiff files out of capture one and then we'll do any other changing um to be honest through photoshop it's just a comfort thing i always have done you can always do it in capture one so if i go to print this file oops sorry file print you'll also find up here i can choose again the color profile that i want so i can force to see i want to use that coated paper so cmyk paper i can change my rendering intent for the bits that are outside of scope so how does it fix things that aren't quite covered by the color range of that icc profile so we can do it based on saturation or based on perceptive interpretation and you can print from capture one and it will manage your color proofing in your color profile in the same way that any other system on your computer will um so there's nothing wrong with printing out a capture one it's just i personally have always done it out of photoshop um dave is there any downside to having recipe proofing enabled all the time potentially so if you think about it your recipe proofing is designed to be a certain size and with certain sharpening and and so on on there so if i set my recipe to be 300 dpi at 40 centimeters let's say my 100 on my recipe is going to be at that equivalent when i'm proofing mode but what if what happens if i load in a smaller image or a larger image when i'm editing my hundred percent is still going to be in my proofing mode it's as if i've printed at 40 centimeters whereas 100 might not be 100 might be smaller than that or bigger so i'm making sharpening decisions i'm making um contrast decisions clarity decisions all of those things that we talk about being very detailed are making those decisions on an output that might not be relevant so typically you would always edit the photo in normal icc proofing mode so there we go look we can see this photo was a lot bigger than 40 centimeters of 300 dpi so i'm going to make different decisions when i zoom in to what i would do when i've got hard proofing enabled which only shows me the output at 300 dpi for 40 centimeters so you want to be careful with it um for that reason um so in yes it's a bit more complex than proofing in photoshop and lightroom it so it is and it isn't it isn't because actually the answer to your question ian is proofing is always enabled it's based on by default which process recipe you have enabled if you want it to be set and fixed you can go down here and say proof profile always be x y or z and it will always stick to that it will never change based on your process recipe that has some advantages because based on that recipe you can very quickly see the output and how it's going to appear so the fact that it's always live can be a really good thing but it confuses people because you've then got this extra proofing button um or the ability to view and recipe proofing all that's doing is it's taking not only the icc but also your output decisions your sharpening all of that stuff on top of that so it's giving you a bit more of an insight so there we go clearer now yes um if there are any questions genuinely pop it onto the facebook group we'll try and cover it because it it does actually make a lot of sense when you start using it in that sense which is it is live it's live based on icc profile your proofing button up here is for your output intent not just the image itself um and that's what so joe you know the proof is a misleading name ish i guess i'd call it you know you've got pre-proofing so it's effectively icc preview which is what is enabled all the time so that's your icc preview proofing proofing is really for output and that's why they've separated it out as its own um as its own function in there um david's there we go i see a difference now so yeah hopefully it sort of clicks but genuinely have a play with it it's gonna take some time to think about but effectively you are always seeing a proof in capture one it just happens that the default when you load up catcher one for the first time and most people will stick with is a standard tiff funnily enough i think the default might even be 8-bit rgb output and that's why you're looking at it as if it was out of the camera the second you switch to a different recipe that has a different icc profile in you're going to see the viewer change but that's nothing to do with this proofing tool up here this proofing tool up here talks about output not just the icc profile so there we go um david so thank you just explain why i've always had to revert to lightroom to get a decent print yeah so it's possibly um one of the things that's um that's easier to do in capture one if you if you can get your head around the fact that it's always doing it and mr grover is online there we go there's also performance penalty good point david well done you get a star so as you'll have seen in there it's not helped by the fact that we're doing um this on a tiff and it was my mistake to load in a tiff in that sense but as you can see when you're doing hard proofing capture one's having to make calculations about shots having to do that sharpening is having to do the resolution calculations so you're going to be running slower if you're in hard proofing mode the soft as it were proofing mode or the icc proofing the live proofing even that you have noticed there's no performance difference because you've all been using it this whole time anyway you didn't know um so there we go so turning off hard proofing is a lot faster turning it on is going to slow you down a little bit uh jim does each variant have its own profile is it shared no it's shed um so betw if i create another variant another variant what's happening in terms of my proofing view is based purely on what i'm choosing up here which goes across those variants um what you can do and i've seen some people do they've created a layer on top of an image which is specifically for a certain output profile um a filled layer basically so they've got a cmyk layer that allows them to um have a setup that says right for this variant this is the version for rgb and this is the version for cmyk just tick the layer and and then the changes happen but that's that's down to how you want to work um so uh robert so for me personally so i always work in adobe rgb within capture one and the reason is because our print output comes out of photoshop and at that point we're doing a little bit of tweaking based on that icc profile but um you can do as i said don't explain you can do it directly out of capture one and it's this you're using the same color profiles this is the other thing as well to remember the color profiles that capture one is using come from your operating system they come from color sync in mac os or color manager in windows they're the same color profiles that photoshop is loading that lightroom is loading that capture one is loading they are the same profiles so if you print from capture one with x profile it should be the same as if you print from photoshop with x profile as long as you've got the same settings loaded in um so where are we um oh david hunted you as well so no it's not possible sorry jim no it's not um the the profiles for proofing go across everything um within capture one in that session so and it's designed so that if i wanted to click through a load of pictures very quickly with a different profile loaded to see the impact that i can um otherwise i'd be constantly trying to change things um so uh [Music] uh i can do lore i'm gonna have to learn gem for you sorry yeah um we can as i say we can talk about it what i might do is um do this as a separate pro tips thing um over 20 minutes in a slightly more structured way i just need to work out how we're going to do that um because as david will attest to this morning um i sort of sat and thought how on earth do i explain this because it is it sounds more complicated than it really is the thing you need to know is whatever you're viewing on the screen live has the icc profile enabled based on the process recipe you have selected here or if you've overridden it selected in here that's that's proofing soft proofing when it comes to output proofing you can tick this box and it's then going to apply the other adjustments too there we go that's it in a short version um so off we go um okay let's have a look at some pictures there we go um starting with peter so peter's question funnily enough was um is this ready for print based on proofing so um let's have a little look without proofing enabled in here what i'm looking at is as a picture not a print at a hundred percent do we have a nice sharp image is it over sharpened does it have any issues or whatever else um and actually what i would say peter on here is it feels at a hundred percent a little bit too sharp if i'm honest um i noticed you've got in here if i turn the mask on we've got some extra sharpening happening over here and on the first sharpening we've got a load of sharpening happening um all over the image and you've got a luma range selected for some reason so it's not sharpening the very brightest parts the very darkest parts um not sure where we're at with that but in general terms it just feels like we're getting a bit too sharp on some of these edges and what i'm concerned about is if you were to print this bigger you're going to see those halos if you print it smaller it might become a bit over sharp so i'd be tempted just to back these off a tiny amount just a bit um and also remember in your sharpening tool if you are getting these these highlights around the edges there's this wonderful function here which is halo suppression so halo suppression has um a very clever bit of code in it that says look at those edges and if sharpening has added a brighter part or a halo of a lighter halo or a darker halo try and reduce it use the surrounding pixels to try and get rid of that so if you are getting and i'm going to use the example by pushing it way up but if we were really really pushing this sharpening and we see too many of these halos around here and i'm being unfair and going into 400 slide up this halo suppression and you'll see some of these halos start to soften they disappear you don't get the harsh white lines don't push it too much it can end up with some other artifacts that you didn't want but um pushing it a little bit leaving your sharpening where it was will help get rid of some of those um telltale signs for it being over sharp so in my head peter i'd say as an image at a hundred percent it's probably a little too sharp so i'd back these two sharpening bits away and then make the decision when you go to print so in your process recipe based on what you want to print it out at so this is where are we at we've got a 8 000 pixels wide so we can go pretty big with this print if i wanted to print an image that was one meter wide at 300 dpi well i've got in my process recipe my adjustment here and say output sharpening for print based on the viewing angle of 100 of the diagonal that's that's how capture one's going to calculate that if i enable my proofing now my hard proofing let's let's use that one as a phrase so let's go into 100 whoops enable my proofing now look what's happening so based on that extra sharpening that's in my process recipe it was gonna overdo it so let's just do it up there so the default up here i think was something like 140 or something like that you can see now at a hundred percent at one meter wide that's what you're going to see it's going to be over sharp so this is where that hard proofing function is really useful if i turn that off still at 100 but because it hasn't had that stretching happen because we're looking at 100 of the image not of this output recipe so the output recipe is going to print 300 pixels per inch for 100 centimeters we could change that to inches to make it easier so when i hit this proofing button it's going to make the picture bigger but it's also now going to apply that extra sharpening that was in the process recipe and at this point here one meter wide that's too sharp it's over sharp so back that off you've still got a lovely sharp picture you've still got all the detail we don't have the halos in it and that's where i'd go to with it so it's two steps um peter and that's why i wanted to use this one specifically today because it's a very handy one as an example so you got to the point of saying okay do is this ready for print as an image potentially i think this sharpening is too much depending on how you want to output it based on your process recipe you might want to back off that output sharpening for print let me give you another example if we go to where are we at 100 on my basic so still at a meter 300 dpi with my sharpening set to well zero let's make it 10 centimeters 300 dpi now all of a sudden maybe it can afford a little bit of sharpening for print not too much again but it could do with a bit more based on those dimensions that we're loading in equally if i set it to 300 centimeters so three meters uh let's go into a hundred percent so at this point at three meters does it need a bit more sharpening possibly not again not too much not up here horrible but maybe we want to load in i don't know 60 or 70 because at 100 at this output it may need a bit more sharpening to keep it nice so it's it sounds more complicated than it is but effectively think of capture one as two stages and it depends on if you're printing if you're just producing for screen then you're 100 you know you can sort of not worry about it too much but when you start scaling images up use the output recipes use this proofing tool to really be able to see what you're really going to get when it comes out of the printer and remember the hard proof option up here as we said earlier it's going to slow your process down so you don't want to do it all the time but that takes into account the icc profile the resolution you set the scale you set your crop so if we were to set it to a square crop and the sharpening when i turn this off the image is still showing me the icc profile that i've loaded into the process recipe i chose so if i switch to a cmyk profile we'd see the image looks a bit flatter and i might make different editing decisions based on that that is nothing to do with the hard proof it's nothing to do with my output it's purely based on that icc does that make sense everyone i'm really hoping it does but um and actually david's running running left field for me on uh on some of the questions so um yeah to francoise um question lightroom doesn't work in quite the same way um uh where are we uh gfx100 files yes as david says they're um they're due out for the march release i think the march release uh whenever that is um so uh where are we i think i'll need to put some more thought into output profiles to user profiles yes so if you want to print from capture one and get the best out of capture one then setting up some nice process recipes with proper output profiles proper icc profiles it can be invaluable you'll get a much better result being able to preview what's going to come out of the printer not just out of your screen so genuinely do play around with icc profiles play around with paper profiles so if you use your own paper at home download the profiles for them people have them out there including the manufacturers if you're using a studio so if you're printing a photo book or you're printing large format stuff with a studio ask them for the icc profile for the printer and paper that you're using there's a big difference there um so uh where are we good evening uh excuse giuseppe so if the monitor has an srgb color space what logical sense does it make to tell capture one to operate in adobe 1998 um well adobe adobe 1998 is an rgb color space so srgb is a very very cut down version of the full rgb color space adobe 1998 is a much wider color gamut they're both s they're both rgb profiles srgb is the standard that everyone sort of adopted at a basic level to say on most monitors it's going to look the same genuinely you shouldn't really be editing in srgb because you're going to lose a lot of the color detail that's outside of that very small color gamut you want to be looking at something like adobe rgb 1998 some people use profoto some private rgb some people use p3 for display which is a wider gamut than srgb but most monitors are able to display more than srgb if you're using a color calibrated monitor so an azo or xdr or bank benq whichever it is um then they are able to cover more of the adobe 1998 gamut than um than others uh oh this is why i pay a guy to print for me good point so yes um one thing to bear in mind is sometimes it is worth um investing in other people's expertise in time if some of this is getting uh confused um so uh where are we roger's saying i normally view it we just print a 50 to check output sharpening does that work into capture one uh it depends on how big you're gonna print to be honest and how big your monitor is so remember 50 is relative um to the pixels on your screen so if you've got a screen that's 6000 pixels wide and your your image is 6000 pixels wide then 100 will be full screen if your screen is only 3000 pixels wide then in order to show 100 you're only going to see half of your picture so it's not as simple as that you've got you've got to work out how much of your image you can see for the resolution and screen size and image size you're using um so um mikhail uh very interesting can you recommend some lecture about it probably the one that i think on the back of this i'm gonna produce so give me a week or so and we'll probably produce a proper um pro tips video that goes through it step by step in a bit more of a um structured way let's let's put it that one um so michael yes makes perfect sense there we go um when the leica m10 monochrome will be included um i'm not sure if that's in the latest batch but i'm sure it will be soon um if it's not already in there i mean i'm not sure it may already be in there um so uh i think there we go there's a nice one to end i know i feel enlightened and informed so let's uh let's move on to our next picture but the key takeaway you are always using proofing in capture one it's just that you haven't known it because it's based on the process recipe you have selected and my suggestion for most people would be stick with adobe rgb 1998 use a calibrated monitor if you're working for print and if you are going to do it based on your actual print output then maybe you want to select the icc profile of your printer and paper uh brian's image let's uh let's move into there um before i get more requests from pablo saying please include resolution and scale in the video yes we will try and make sure it covers that too so uh brian's shot um there are there are two images that brian sent in here and and they've both got something that i want to just look at because it depends on um again your interpretation these are your pictures it was your scene it was how you saw it at the time but to me this feels a bit too blue um not massively but when i looked at this one here of the otters and it's a great shot let me just turn on our before and after we've we've ended up making it a bit too i guess magenta bluey for that snow it just feels a little bit um slightly off this feels a bit too green the before the after just feels a bit too um too pinky blue so you know everything you've done on here brian honestly um i i don't think i'd do more with it um your iso 800 so you've got a bit of noise in there but you needed that for the shutter speed i'm sure um so when i look at this you know the highlight pull down is what i would have done the shadow pull up is what i would have done there's possibly a touch too much clarity and structure i'm just going to pull them down a bit the reason that i pull it down a bit is simply down to the fact that structure can introduce and let's say an enhanced view on noise so when you look at the noise in a picture when you pull up structure it can also increase the noise that you're seeing so i'd use structure sparingly if you are going to do it i wouldn't do it blanket like this which is over the entire picture i would have you know if you're going to do it on the fur then maybe you just create a new little layer in here called fur choose our brush um really really soft edge quite wide i'm gonna leave it a hundred percent because i can use the layer opacity to pull it down and we do the structure based on let me just go into 100 we do the structure work just on the otters not on the entire background so we're not pulling up the rest of it in noise okay um so then we'd look at the white balance and i'm looking at the change from the original to the new my temptation would be just pull back that tint a little bit and just warm up a tiny bit too it just feels more neutral there um and again this is just my interpretation of it but it needed to feel less blue less um colored um and more sort of natural i wouldn't go down the route of choosing the snow because if we do that it's going to go way too yellow some of that is because the snow is bouncing back cold light and it's natural that it will look cold if we try and get the snows if we choose a shadow tone in here it's going to go way over the top and unless it was a you know warm winter sun diffused and very yellow sun that doesn't make sense so i would um do it manually but i would just back off the cooling and back off the the pink tint a touch um just on that one and on this one it's a similar story to me um which is whether or not these mountains are right to be quite so blue um and we've got on here a few adjustment layers so we've got the sky being adjusted uh we've got our trees separately which got a little bit of a boosted shadow not too much and in fact on this one we could almost afford to bring these shadows up a bit more if you wanted brian um that's that's sort of your call um but overall if i look at our background here it's again got a custom white balance and if i do before and after um you know it's what have we got it's a slight pink tint but actually i think actually we could probably knock out some of that blue as well so again my temptation would be just to lift this a touch um in fact i could even pull that pink a little bit more ironically but just to get out of those blues um just maybe to there i don't know it's very very fiddly this one um but i'm sort of in a place where that feels more neutral um than where we were before other than that again there's nothing really um that we need to change with it but 300 we're being um we're being very unfair 200 even but we've got a little bit of softening around those mountains um at 0.6 of a second i'm guessing it was tripoded but i'm guessing it was also maybe a bit windy so we might have lost some detail in there so overall what i'd be tempted to do is to add a new layer um into those mountains and i'm just going to choose a really soft brush again but don't have to be too careful with it um and it's because i don't want to increase the sharpening and structure on the clouds nor the trees down the bottom but i do in here just want to pull up a bit more structure a bit of clarity just to give it a bit of a pop so you can see we go from there to there and hopefully you can see the difference it's just added a bit more sharpening on there um without affecting the sky what we don't want to do is that same process up here because all that's going to do by putting in structure and clarity in this in the clouds we're going to get halos around the edges we're going to get that noise stuff coming up in the middle of the clouds that's not nice so we're forgiving the fact that we're going to introduce some of that in the mountains for the fact that we're getting it a bit sharper so i'm trading off um and saying i'm happy to get a bit of those artifacts in there for the sake of making it a little bit more crisp but overall again it's a nice edit um it's just i'd lift it up out of those really cool blues and pinks just a bit um just to warm up this this bass line again let me just create a clone what i don't want to do again is let's go back to our background layer oops i don't want to use the picker to change the snow because i'm going to get a completely different feel now again i wasn't there at the time i don't know which one is more accurate to real life but by choosing the picker on snow and i've said this before be really really careful because snow is bouncing back the color of the light that hits it it is not pure white it's white based on the color of light that's hitting it if you try to make the snow pure white the alteration that's going to happen in the rest of the image as you can see um can be quite severe so genuinely when you're doing wintery scenes snowbound scenes and stuff like that you're into manual white balance territory and then you're into the mode of trying to make sure that you're as true to where it was before an advantage of having this other layer by the way is you know not completely accurately but we have separated out the mountains effectively from the rest of the image so i can warm up that a bit more without affecting the sky as well um so yeah both of them again they're both cracking shots um but it it's a it's about getting the right adjustment in the right area rather than just globally um oh brian's saying that yes it was also hazy see yeah you know all these things when you've got haze in the air when you've got um light that's bouncing around especially where you've got you know red light hitting some areas and and cold blue light hitting the rest you've got all those things going on if you just try and use the auto white balance function it it's just not gonna get it it wasn't there at the time and it's an unusual setup with snow okay um from mark so you can probably guess um the same theme when it comes to white balance that i'm going to talk about here which is do i believe that all of this stuff down here was this pink and i don't um maybe it was bouncing back all around the light and stuff like that but uh if i go before and after um i think we've shifted the color a bit too far on this one so we've got a couple of layers um that we've got put into there um sorry wrong tab so we've got our background changes which actually are pretty much minimal if anything i don't think there's much change in there and what mark's done is he's put in one layer which is an adjustment layer across the floor um which has got a very different um white balance loaded into it to the um well actually no we've left it as it was interesting okay um and then the adjustment layer for the whole of the image where we've got our highlights pulled down your standard stuff there's a quite heavy ramp of saturation there um which to me we've got to be a bit careful that we don't push it too far in in these ones so first thing we've got a wonderful layer that mark has already done which is this base layer at the bottom so given that's already mapped out i'm just going to use our kelvin here just to warm up and remove some of this pink out of it so that just feels a bit more natural we could go further we could make it a lot more gray if we wanted to uh where do we get to sort of there but i think that's wrong um so i'm gonna leave it sort of there that that feels okay might want to warm it up a touch based on the sky um i'm just tweaking more than anything but i don't want it feeling quite that um quite that pink as it was before i'm gonna pull down the saturation in fact overall bearing in mind we're only affecting pressing m again on the keyboard to show the mask we're only affecting this bottom bit um so you know removing some of that sort of saturation that's added in the the next layer might help but overall i am going to back off the saturation by a little bit too the reason being the the saturation boost on the top of the or across the whole image means that the sky has come alive but equally the ground has lit up and been boosted with all that extra color as well and that's where it doesn't make sense because the ground wouldn't be that vibrant it just wouldn't in that scene it would be um in silhouette for a start which we can see but you know you'd get some of the color from the sky but it's not going to be to quite that extent but by pulling up the saturation on the entire image the sky and the ground both get lifted at the same amount that's causing the the sky to become very very vivid and vibrant and bright and yeah okay cool but it's also lifting up the ground by the same amount so i'm having to counter that with this desaturate i can undo that a little bit if i'm going to back off this overall saturation by a touch too so to me i always sort of look at alarm bells ringing whenever i see saturation more than about 20 or 30. um that can be a real problem um it just goes to um a little bit too far so let me just give you an example let me uh clone this variant and out here let's put that back up to 50 where it was and let's look at some of these values up here these yellows you know we're right at the top end of those reds so two five two two one two in green so we're almost at the point where the yellow is over saturated out here it probably will be as well yeah two five four two two three it's really hitting the really like the yellowest of yellows and you know skies can be very very vivid for sure i've seen them but it needs to be offset with a natural ground if i go back to this one which has the same effect but it's been reduced in saturation back down to 25 you know these yellows they're still up there um but they just don't look quite so pushed um they just look a little more natural if i go side by side um we don't have this this really really rich deep saturated color remember capture one saturation slider here is going to protect certain things so it's more like vibrance than saturation we've talked about that on on facebook for a while now um so even if you do push it too far uh let's go into this one and go all the way up to 100. it's not going to cause too much damage i mean this is oversaturated on the right now for sure but it's not going to cause too much damage because this isn't really just like racking up the saturation if i wanted to do that let's just do it to show you if i want a pure saturation slider let's go into a new filled layer color editor choose advanced you can't just choose the whole color wheel unless you go down here and go plus now i've got something that affects the whole color wheel and if i go saturation plus let's go say about 50. shall we we can see it's overdone it so that's raw true saturation in your advanced color editor and that's why we tend not to use that we tend to use the one that's over here in our exposure tab because it's a little more protective over colors and shades um okay so let's just zoom out back here other than that you know genuinely i don't have a problem too much with with anything else on here apart from i would be tempted with my sky to just put in a little graduated filter i don't know if a filter was already used on this shot mark but if it was um i'm just going to add a touch more on there and that allows me let me show you with this to go back to my background and lift up the brightness just a touch now i could do it with exposure but that's going to lift everything up brightness is going to squeeze some of those shadows to be brighter without pushing the highlights too far and then i can counter that with a bit more darkening in the sky so to me that just feels a bit more comfortable a bit more real as an image um than um pushing it too far and if if i were to go back to i can't remember what the um what the original uh levels were here if i go left to right so this is our new one here on the left this is the original on the right um i just yeah i i struggle a little bit with the coloring on that original um out here compared to what i believe this probably looked that natural or look like naturally that doesn't mean i'm right um it doesn't mean that um the the left was correct and the right was was wrong you were there at the time if it genuinely looked like that then stick with it um i just think someone coming at it fresh is likely to see this is looking more um real than the one on the right um paul has just said seems a bit tilted i think so i've had this problem before in death valley um it may not be um sometimes this is the effect of where the hill is sloping off is this actually death valley maybe it's not i can't remember um anyway um if it is then it's exactly that so what happens is the valley floor actually slopes away um if i were to put the straightening tool on here and draw a line across what i believe to be roughly the horizon um oh why is my straightening line not working strange we can all see that can't we straightening line not working stuck on a hand weird um that is very strange what's going on there okay we'll move on but i can do it manually anyway so um while that little weirdness is going on um if i were to in fact by the look of it mark's actually changed it already but you know if i were to do it manually like this it is actually straight looking at that um but this line here is what's straight which is effectively the horizon line not necessarily this this pool of the um of the valley um so it's a bit of an optical illusion um yeah martin's saying um straighten only on the background we are only on the background um it just doesn't doesn't like it um there we go david there we go as an admission people had it this himself the other day turn it off and on again so in the interest of not turning it off and on again um for this session we'll leave it but yeah maybe there's a little little bug a little weird thing um going on there but we're on background layer we're on our straighten tool and it ain't straightening a bit weird okay let's move on um so possibly our final shot of today from tanya so switzerland shot you've done a lot of work on this shot already from the look of it and the question was how do we get the tower looking more straight i don't know if this tower is meant to it looks like it's getting bigger as it goes up which sort of um sort of goes a bit goes a bit strange look i'm not alone um jeff's had the same problem at the weirdness like that too had to quit and relaunch i don't know what caused that um it was a bit odd but there we go if i go to my straighten tool now no still not working how strange everything is set with hand this could be a bit tricky to go forward um anyway let's let's try one way or another um brian's just saying maybe he's making editing choices for me do you know what we're going to do we are um as jeff p has just said good human oddities happen to you too there we go um complete meltdown so let's go back to i even forgot whose it was it was tanya's shot um right calm start again so the work that's already been done on here um has brought that tower up so there's already some keystoning that's happened if i look at the original the tower's off to one side and it's also going away from us um let's have a little look at what can be done with our vertical keystone so although tanya's already done that we can't do this can we without that working um let's just do something different i'm just gonna close down our catalog here let's try a re-open and see which is what i probably should have done in the first place there we go we've got all our tools back i'm going to blame grover because he's on um there we go nice boots nice software um um so let's um let's have a look at what tanya has done so with the keystone tool um what we've got here is a pull so it's pulled the bottom right out it's pulled the bottom left down alongside it and it's squashed in that top right hand corner that squash has corrected this tower up here but what we've got effectively is a weird lean where it's getting bigger as it goes away and we can see that because if i look out here to these um houses look on this side they lean out to the left on this side they lean out to the right so what's happening is it's pulling that top part which is making this clock tower wrong with that said what we can do of course is fix that keystone a bit more by just pulling these lines back out and straight and what i'm trying to do is follow a virtual line i guess in my head which is this house going down here coming all the way down here and this line down here following almost this line of this bridge i'm having to do it by eye but hopefully here we go so it's gonna start to correct that lean that we're getting in the shot now the problem is however a result of that quite heavy keystone we lose more of the image here so we want to go back into our crop tool and try and get as much as we can out of it now this is going to depend on how much you want to print um how much you want to get in the scene but you know we can get to there and now the houses aren't leaning quite so much the clock tower is looking a bit more straight we've got a bit more of a heel to do up here so let's go up to there and heal that out let's choose the right ah we've got some other ah we've taken it from another branch i think tanya so i'm going to take it from over here and see if it can fix that not quite um so let's delete that heel point so what we've got effectively without the heel is our healing brush is actually taking other bits of the branch so because i didn't know that that whole branch was there i was looking at the after we didn't realize that we're going to be healing into another area so i'm going to make my brush a bit smaller choose a new area here so the alt key on the keyboard and paint into here and hopefully that area doesn't have a branch which it doesn't and we're a bit clearer okay so we can get to there without the clock tower looking like it's leaning too much but you know there is going to be a limit that you can push it because at a certain point we're going to pull the image so much that you're going to lose so much of the rest of it that your crop is going to be too heavy when you want to print compared to where it was before but that certainly looks a bit straighter [Music] compared to where we are here with these houses sort of leaning out to the side we could go a bit further if you really wanted to so you know we can uh pull that out there pull that out there remember on the keystone tool go to your lens tab under keystone make sure this is set to 100 otherwise it's not doing 100 of what you're asking it to it's only doing 80. so remember that one whenever in the keystone tool um but this there becomes a lot straighter that sort of works um and then the rest of it i mean to be honest the edit is pretty good the the water on here you've got some clarity loaded into here i'd be tempted in here just to add a bit more structure if we can so your mask at the moment is heavily over to this side i'm going to add a new one that says water 2 and with our water 2 mask we're going to just choose a new area down here and i'm really going to push up clarity and push up structure and i'm going to pull down a little bit of the highlight and down a touch of the white as well um just so we get a bit more vibrance and contrast in there that's all um nothing more it's just to do that um st is saying can we use both sides of the tower's reference to make sure the tower is straight so we can but we're gonna finish on a butt uh when we zoom out which for some reason this didn't um do when i clicked it there when i go onto my keystone lines the further out my keystone lines are from the center the more accurate you're going to be if i pull them into the center hardly any change on your keystone is going to result in a big difference now let's just move that in there to that tower and in fact we're going to go right the way in so let's put these two lines here so that i can zoom in and we're gonna go right along that side there right along that side there that side there and that side there hit apply now in this case actually it hasn't done a bad job at all it's it's sort of still looking a little bit weird but you know it has pulled quite a bit if i'd made one tiny mistake so let's go into here because these are so close let's say i went a couple of degrees out you're going to get a very warped picture so general rule with keystone try and do it as far out from the edges as possible from the center as possible but if you are going to go in the center you can have to be really accurate but yeah it can work um it can give us the result that we want okay um so that's better isn't it yes um my gut feel it probably is um but you know choices and all that sort of stuff if we go from the original here um with this lean on the houses you know this is certainly more upright but again the more upright you make it the more of your image you're going to lose you're going to crop some of the stuff out of the scene and that can be a bit of a problem so you know this is where tilt-shift lenses come into their own it's where um fixing keystone at the time comes into its own as well but um there we go uh jim's just saying wish we could change the colors of the keystone so it would be hard now so it's really hard to see sometimes yes um so what you will see um and in fact um i think it's already been talked about um in the march release there may be a slight update to the keystone tool not not huge but it should help with um with viewing things um and yeah francoise the italian art of architecture yes so some things as well i've had this in india actually don't try and straighten certain indian walls because they weren't straight um it doesn't work the whole picture goes wrong um when you try and do that okay so sorry about the weird glitch in the middle i do blame um random software thing on that one but there we go i'll try and work out what was going on um and no i do not have cowboy boots coming i've got enough of them already so there we go um in the meantime uh between now and next week so next thursday we'll do another session um same time same place we'll get to more images then because we won't cover the the proofing stuff at the beginning um but do um continue on in that facebook group there's lots of good stuff lots of stuff where um people are helping each other which is nice to see um i will try and do one of the pro tips videos for um proofing and soft proofing and so on over the next week or so and put it up but in the meantime make sure you send in your images um into the upload tools so paul reefer live.wetransfer.com um we had a bit of a problem a couple of weeks ago where people were getting rejection messages from we transfer it was still coming through to us don't worry um but that was something that we we had to do a bit of troubleshooting on um and then in between now and then um stay inside if you've been told to stay outside if you've been told to but whichever way it works and we will catch you in a week's time cheers everyone bye-bye you

Channel: Paul Reiffer

Views: 10,209

Keywords: Capture One, Capture, One, Post Processing, Editing, Phase One, Capture One Pro, Live, Examples, Training, Learn, Lessons, RAW, Photo Editing, How To, Guide, License, Variants, Clarity, Tools, Graduated, Masks, Natural, Histogram, Processing, Gradient, Support, Q&A, Lens, Edit, Levels, Adjustments, Contrast, Color, Noise, Software, Exposure, Dynamic Range, v21, 21, Curves, ICC, Profile, Landscape, Curve, Mask, Luma Range, Proofing, Soft Proof, Printing, Print, Color Space, sRGB, AdobeRGB, Print Profile, Calibration, Proof

Id: v9TSGFV3yWA

Length: 62min 38sec (3758 seconds)

Published: Thu Mar 04 2021