Live Editing Sessions - Capture One 5th August 2021 (Colour Grading, LUTs, Levels, Curves & Sunsets)

hello everyone uh welcome it's thursday obviously um that's why i'm on your screen and you are watching it um so hello and welcome to everyone that's new um to those of you that have been here a long time you know that you know the deal but we're gonna run through it very quickly so we're going to spend the next hour just running through some edits of your images within capture one that program so if for those of you that don't know capture one capture one is a raw processor it's basically capable of taking your raw images from your camera the raw data processing it and editing it in a way that gets the best out of your photographs and that's what we're going to try and do over the next 60 minutes so before we get into capture one itself let's just cover um a couple of i guess ground rules so number one be as interactive as we can uh so if i'm doing something that doesn't make sense uh or you've got questions or you think that we can maybe do something different um please put it in the comments bear in mind there is about a five or six second delay between what i say and what appears on your screen so when you put a comment in i'm not ignoring you it just takes a little time for it to appear here and for me to read it for a start and then respond secondly we are running version 21.3 or 14.3 as it is in the about screen of capture one for those of you that are on 14.2 and there may be some people for different reasons that have stuck with it um you'll be able to follow along with most of this stuff in fact for those of you that are on capture 120 or what was called version 13 most of the stuff that we covered today you'll still be able to follow along with but it's worthwhile looking at updating the 14.3 update we covered this uh in a bit more depth last week but effectively it comes with a couple of new features so magic brush a new exporter if you are a digi tech or someone with a very very key workflow around the existing exporter check that the new one is going to work for you before upgrading capture one have actually said that they're going to come out with a change to the exporter to allow both ways of working the old way and the new way i know lots of people like the new way um but there are a few people that aren't too happy um from switching from the old way so life's about choices um make your own very wisely and um for those of you that want to switch to 14.3 you should find it in your uh download section on captureone.com when you go into your account so let's go into capture one so uh where are we a couple of people uh lee waiting to see if there are any issues with the windows pc or bugs um so i will say one thing i had a couple of crashes actually on the latest version a couple days ago ironically one of them when i was trying to send a file to david grover of all people um so i'm keeping an eye on it i think it was probably a very old catalogue with some weird stuff in it maybe but yeah i haven't heard of anything massive um in in terms of 14.3 issues but as always you know test test test you know put put the version on give it a test through make sure it works first to make sure it works for you before updating any of your software it's not just capture one even microsoft word just make sure it's it's good before before you ditch the old one okay so let's go into capture one um and we're gonna start today funnily enough without one of your pictures so we've got a load of images from we'll probably get through five or six of them today but before we get into um the actual the edits of the challenges you've got i want to cover two things one is um color grading and one is contrast to chile's question just uh to cover it off um before people start speculating the version the full versions you know the the fact is there isn't a set timetable in terms of it will come out on this date every year traditionally it tends to be at the end of the year ready for the next version so version 21 was so named because it was for 2021. so strangely it came out at the end of last year and it's ready now if i were putting money on it i would probably bet on the end of this year but you know buyer beware could be earlier could be later um i can't i don't take that i don't control it but i would imagine it would be towards the end of the year okay so back on to um let's start with color grading so one of the questions actually i think allen was talking this morning about someone referring to luts or look up tones or lookup tables um so it's become very popular to to have um a lut applied to an image and in fact lots of presets basically rely on them in capture one we do things slightly differently but it has the same output effect some of you will recognize these pictures as an old funny enough an old picture that i was editing the other day um and what we can do with capture one is actually i would argue in some ways more powerful photographically because we've got this this color balance tool here and we've of course got the color editor so when when it comes to grading a photo or making a photo feel different to how it feels at the moment typically our first protocol is always on the white balance tool right so we go to the white balance and we can you know warm it up we can switch the tint normally that's to counter a filter um color cast but you can use tint artistically so we can create you know as if it were in the middle of mars for example or somewhere underneath in the middle of the ocean maybe but that's quite a big tool you know we're shifting all the tones in the image right or left in terms of warmth of light and it's making big changes we can separate them out by using the masks and gradients and so on on different parts of the image but there's a much more powerful tool you have in capture one which is the color balance tool and the color editor to do grading which is how we we control the different aspects of the image for you know the shadows the highlights and different areas so if i take this image here first off um it was on a old iq3 so we're going to switch to the pro standard profile because in this case i prefer it and then i've got to remember how that scene actually looked and how i want it to feel so to me you know these clouds up here um they're a little bit more i guess pinky gray than they were when i remember so what i'm going to do is just use these sliders and tools down here to adjust the image without having to draw masks because i've got some clearly defined areas here i've got some mid tones i've got some highlights up here but this is predominantly in the mid-tones and i've got some deep shadows so let's have a look at our mid-tones we could switch and let's look at those clouds so very very pink clouds not so good uh very very yellowy clouds greeny clouds but i'm sort of in a place where this is how those clouds sort of felt at the time so if i do a quick let's do a before and after so our original on the left and our new graded version on the right because this moss is also in the mid tones of course that shift has affected the moss too so just bear that in mind when you're using the color balance tool we can also say to the mid tones using this right hand slider same with shadows here with this slider here and highlights here i can lighten or darken just the mid tones now this one's really important because in your exposure tab you have your high dynamic range which allows you to shift the highlights and the shadows to be brighter or darker and recover them effectively but there isn't a mid-tones section in the high dynamic range you can do it through levels but you're not just altering the mid-tones because you're actually stretching and shrinking either side of the highlight of the histogram so you're actually also affecting some of the highlights and some of the shadows on this tool here we are purely changing the brightness of the mid-tones and we can also change their saturation so you've actually got a really really powerful tool in the color balance tool for controlling this middle section of your histogram which traditionally is the bit that gets sort of i guess unloved because we've got all the tools on the outside so in this case i'm happy with that sky but what about this moth so it's gone a bit yellowy as a result so instead of you know i could let's try and affect the shadows well that's just going to get the other stuff and in fact i'll come back to that in a second highlights is going to affect the brightest parts of the sky but not a lot else so i'm going to leave that where it is because i'm happy with the white but this stuff here i want to change so color editor we always go to advanced you don't need to in this case we're just going to go to the color picker here choose our moss here and it's picked it up but it's yellow well i'm sat thinking no it's definitely greener than that so i'm going to shift the hue back to be more green now notice this isn't changing the sky tone so this tool here the color balance tool is affecting the mid tones it doesn't care what color that mid tone is just as long as it's in the middle part of the histogram and then it's going to shift the colors based on that current position the color editor cares what color it is it actually doesn't care about the tone of it or the brightness of it it just looks for the hue value so in this case here on the basic one anyway i've selected the yellows because that was what this picked up as and i can change this to be slightly more green slightly darker maybe more saturated no probably a bit less saturated in fact let's make it a bit darker still good then if i really want to finish this off i'd go to the shadow one and i'm just going to cool down my shadows to be a bit more cool and blue okay three very small changes so we've shifted our mid tones up towards a slightly more green tone we've shifted our shadows down to be a little bit cooler a little more blue not touch the highlights and told the image anything that was yellow can you please make it a little bit more green a little bit more a little bit darker in terms of lightness and we get this result now those small things if i go back to our before and after create a very different feel to the same image and this is what we're talking about when it comes to grading and color profiles and color theory even you know what what complements and what goes against other colors this is the stuff that gives you a style to your image and this is the stuff that's worth really spending some time and experimenting with if you have any of these presets or the the styles that you can buy within here so let's say we went to the nordic ones which are most recent any of these styles that i apply in fact let's go to oslo it's a pretty harsh one let's apply that to a new layer let's have a look at what it's doing look at what oslo's doing it's shifting these color balances it's shifting the highlights a bit the midtones a bit more the shadows a bit more and it's shifting some of the um the colors the hues so you'll actually find a lot of the styles that people are using in here you could actually create your own version with your own take on it by just playing with those color balance wheels with the color editor and then using it to get a graded picture that more accurate or accurately sorry resembles what uh what you saw at the time so that's color grading next one i want to cover very quickly is contrast because this has come up a couple times recently with quite a few people actually not not one or two images but actually quite a few and it's the interrelationship of high dynamic range levels and contrast and i just want to cover it in a generic way i'm not going to go into any specific image because it's it's going to be different for everyone but i want people to understand this logic in this image here we've got some space here on the histogram on the right hand side and the shadows are pretty close to the left but there's possibly a bit more room in there to create a bit more um contrast so what a lot of people will do is they go to levels and they'll start off with an auto level click i've got more contrast great and then we go into highlights and we think oh our highlights are a bit bright here so let's pull the highlights down got a lot more detail now in the clouds very nice shadows we're losing a bit of data in there so let's uh let's pull those shadows up not too much yep that's good black though in here in these darkest parts let's pull those up too and let's pull our white down as well in the sky good now i'm just going to temporarily undo the high dynamic range box and i want you to watch the histogram because this was the histogram that auto levels created and what auto levels is designed to do if we look at our levels curve down here it's designed to move our darkest point and our lightest point to where the data starts so effectively we're stretching the histogram so that it goes from a standard or as it was out of the camera to this histogram on the top left which is using all of the available values from 0 to 255 adding contrast and then we go into our hdr tool and we delete all the contrast so let me just apply it again watch the histogram as a result of pulling down highlights down whites and pulling up shadows and up blacks ready squashed again so all that work that i just did in auto levels i've just undone so in fact if anything what i could do is re-auto level and now i'm back to pulling it out again but with more detail in the highlights and the the whites and and in the shadows but you'll see this becomes iterative and the problem that i see with this is people chasing it because they're making an adjustment then they're making a counter adjustment and then they're trying to fix that and then they try and fix the fix the same applies for contrast here so if for example i let's leave the levels where they were okay so i want a bit more contrast well let's add in some contrast oh but now i'm losing my shadows but more importantly watch what happens to the histogram contrast is going to pull that histogram darks get darker lights get lighter ready and stretched good but now my shadows are too dark so i'll pull up my shadows watch the histogram it's moving from the left to the right and i might want to pull up the black slider a bit we might want to pull down whites great and then maybe we want to do an auto levels again now what have i ended up with a horrible horrible version of this picture if i just undo all of that so let's just reset our hdr reset our contrast reset our levels here was my original natural picture and i might want to you know potentially what i might do is pull up this levels here just to get a bit more brightness in there but if i go chasing and i start doing hdr contrast auto levels bit more hdr oh god darker more auto levels bit more hdr more auto levels i end up here pretty quickly please don't do that so golden rule number one stop chasing fixes if you start to see the the contrast going out of control think about the elements that you've got going on here and what they're each doing in this picture here i can see immediately from these sliders that i'm countering things that i've already done i've pulled in levels to add contrast i've gone to contrast here and i've added even more contrast and then i've gone to the hdr tool and removed all of that contrast why why why do that it doesn't make sense there are some cases of course where you can you can do that but you know just be really careful with this stuff um hdr and contrast and levels and curves for that matter all complement each other but also all compete with each other so if you're using one to add contrast really think about why you'd use the other to remove that same contrast if you didn't need to add it in the first place don't do either don't try and chase the fix um where are we sure he's just asked can i show an example of an orange and teal type color grade uh i can if you go onto the playlist on the our channel which is um pro tips in there you'll see one called styles or creating styles and presets and in there you will see one that actually tells you exactly how to do an orange and teal style for your pictures there we go um that was a quick answer so lesson number one before we even go into some of the edits learn color grading and by that i mean learn how to use the color balance tool your your own look is going to look very different to other people's but with a few little tweaks you can end up with a very different feel to a picture learn the color editor and when that's more appropriate than the color balance tool and when both are more appropriate than using overall white balance of course you can do some of this stuff with white balance but that color balance tool and the color editor in capture one are so powerful they're really worth learning okay um so that and of course contrast yeah don't go chasing contrast bad idea uh let's go into nars shot so uh the la skyline um and the note that that nar sent in was basically uh they've pulled up the mountains in the background and actually let's go before and after so if you don't have uh the tool enabled up here on the toolbar click it and it'll enable you can also click and hold you can go to full view or split view in in our case we tend to like split view so turn it on and it'll put it in the middle this is our before shot this is our after on the right and of course we can swipe across um this shot here if i look at the original we sort of lost the mountain so actually looking at the changes that nar's done on here i'd say they're actually pretty good already i mean there's funnily enough talking about it there's some color grade going on in here so what they've done is they've moved the highlights up moved the shadows up as well so both if you imagine this in terms of the histogram both the bright parts and the dark parts of the image have gone warm but the middle part of the image the mid tones have stayed exactly the same hasn't moved and that's something that you wouldn't achieve purely with white balance so let's have a little look at what we can do though to improve some of this skyline standing out a little bit and there's actually a couple of simple things on here um let me turn the before and after off the first thing i'm just going to add a clarity layer because although in here let me just go to our exposure tab which is where we spend most of the time um as i'm looking through all of these different layers the mountains have got um some clarity added so if i press m for my mask what now has done is added a luma range onto an existing mask good you could try and do this with magic brush i can tell you now it won't do a very good job because everything is so similar it's not going to see the differences and you're going to get spill over these buildings we've got a healing layer on there and a background layer with a bit of clarity but i think in this case we can get away with quite a bit more clarity than is already on there i wouldn't most of you know i wouldn't normally say that but in this case you um i think we've got a bit more latitude to do it so let's add a new layer click on the plus button remember in 14.3 that plus button has moved from left hand side here to up here also remember your mask visibility has moved up here on the viewer rather than sitting down here so new layer in here and i'm going to create a radial mask now something dawned on me the other day that a lot of people don't know you can do this i'm going to draw my radial mask and the default is almost like a vignette so remember in a mask the red areas of the areas that are masked and the clear areas of the areas that have no effect so zero mask in here this midpoint line is fifty percent this nip or this outer line here is a hundred percent so it goes 100 outside 100 down to 50 down to zero and then no effect in the middle so this gives me a nice way if i turn my mask off by pressing m i can you know increase exposure decrease exposure we can add a nice little vignette or whatever but i'm affecting the outside ring so a lot of people including me will default and go to invert mask when i want to affect the inside of the ring if you find yourself predominantly drawing masks where you want the radial mask to have the bit covered inside not out right click and just tick that box draw a mask inside um it's it's there um it's just not i don't think i don't know whether it is documented or exposed but anyway when i do that it changes the default behavior for the radial mask only the radial mask to draw the mask inside like here rather than on the outside so it's worth if if you find yourself constantly inverting a radial mask before you go to draw it next time just take that box and it'll switch to being drawing on the inside rather than the out okay so really soft mask in other words i want this fall off the difference between 0 and 100 to be as big as possible across the picture so i don't notice any halo or any discernible line around the area i'm affecting i want to squish this to be a bit lower because i want it over the city and not much else around there we might have to go a bit higher there and let me just clone this so we don't obliterate other stuff and i'm going to use that clarity now if i put it to 100 probably a bit too much but i can get away with probably about 50 or 60 which is quite a lot more than we would normally add also on here i'm also going to add another layer and use a normal standard sort of soft gradient and draw up from the bottom here and add a similar amount of extra clarity in here but also with that add a touch of contrast now not too much it's gonna go too dark but just a touch just to give it a bit more presence a bit more heaviness um in the in the foreground here overall of course on the background we can use a bit of d haze i'd be careful not to overdo it so let's just slide it up slowly okay now remember and we've covered this before but it's been a long time if you're on version 20 you don't have a day slider if you're on 21 or above then you do um when you cut the haze of an image remember that the haze is typically lighter than the subject that's why you're cutting it it's haze so as you reduce haze you're also in theory reducing the brightness of the image overall so it's worthwhile either using exposure or the brightness slider just to counter any dehaze function that you do add in this is telling me down here in the foreground maybe i want to just reduce that contrast to touch yeah that sort of works and that's where i'd leave it i wouldn't go any further than that so you know there's our original there's the i guess slightly more um vivid version if you want to call it that you do have the option here to play a little bit more with our white balance so we could you know d blue it a little bit and we could just shift that green across to a bit more neutral but overall you know i get from there to there all we're doing is just cleaning up that haze um the uh well the built-in los angeles sunblock um and effectively just de-blueing some of this now going back to what i said earlier if you wanted blue then then don't do that um or use the color grading tools that you've got to add the blue back in so couple questions uh where are we on here a bit behind sorry um paula isn't this a matter of not really knowing what each tool exactly does so i'm guessing you mean about things like the hdr and the the contrast yes um just almost visualize and in fact this is a good trick for anyone when you're using each tool a good way of learning this stuff is to predict what you think is going to happen and as you do the slider if it does what you expected it's going to happen great if it does something surprising learn why learn what was different understand in your own head what happened that wasn't what you were expecting so and i see this quite a lot where um we've almost got into this automatic mode of recovering all the high dynamic range sometimes i want contrast if i recover all the highlights and bring back all the shadows i'm reducing contrast whenever you see the histogram do that no contrast see it do that more contrast so the levels tool the auto levels tool remember will never adjust the top sliders so to reduce contrast at levels sorry in levels um we have to move the top sliders so let me go back to our uh our example in here so if i were to move the top sliders watch what's happening on the top histogram moving the top right into the middle moving the top left into the middle and what's happening if i go to the extreme i have an image with hardly any contrast now i could get that contrast back by darkening my shadows darkening the blacks increasing the highlights increasing the whites but what's going wrong this is an example of this think about it these sliders here high dynamic range are designed to affect the bottom quarter and the top quarter of your histogram well as a result of this change in my levels i've got nothing in the top quarter nothing in the bottom quarter so these sliders are going to have a minor effect but they're not going to do much the slider that will do something to this image is the contrast slider because watch what happens it's going to move stuff from the inside out to the outside or of course i could just not do that with levels in the first place and that's the stuff that it's worthwhile just having a play in your mind between what did i expect what actually happened and why and just just experiment with it uh gyms i've applied styles and discovered that the do changes to greens when there's no green in the image they do um not sure quite understand that jim um so effectively the style remember will always um it's following a set preset or a prescribed set of color changes so um what you've got to bear in mind is for example some blues if i look at cyan they're on the edge of greens so even though the image looks very blue let's say you've got a blue and pink image um if you've got a style then that affects greens plus a load of um i guess latitude either side of that as well unfortunately it's also going to drag some of those blues into the style itself um so it's not going to be quite some quite so specific um david i guess it's important to know what you're trying to achieve with an image before you start any adjustments yeah and no so yeah uh effectively yes use some images to play with though you know if you've got an image which is particularly low contrast practice getting back the contrast and you'll see the tools that work the ones that don't and more importantly you'll see the tools that battle with each other and the ones that uh that contradict each other um vincent slightly off topic i'm trying to find a blur image and can't find it in capture 114.3 i'm not quite sure if you mean can we blur the image no um you can at the point that you capture it but there's no blur function in capture one you can reduce clarity um you can have negative clarity we can do that in here so you would see the image becoming slightly more blurry you can reduce structure you can reduce contrast but you're not gonna there's no tool that's designed to blur um the image um yeah if anything use the right lens get some background blur do it in bokeh that's what it's designed for but there's not a there's not a paintbrush for blur if if that was the question if it's not then i'll try and pick it up in a second um okay let's go on to uh who we got next fenugopalan so this shot here in kerala um i think i'm not sure whether this is the backwaters we went to but it's a really cool place if you get to go on a boat across here um a couple things on here so the question is you know is there anything we need to improve if i'm honest there's a couple things on here that are that are sort of not quite right in my mind and then there's one big one that is going to be personal choice the first is is not level and there's a problem in this image which is this flag here obviously isn't quite straight it's not directly up and if i compare it to this line of the shoreline i know that this disappears off into perspective out here but it's still not quite level so what i'm going to do is just straighten this a second along there and i'm having to guess it a little bit but that now feels straight but now of course that flagpole is even more at an angle i'm not sure if you were quite in the middle of the boat it doesn't look like it because looking at this wake you see here we've got quite a big distance and here it's off the edge of the clip so my guess is you were you were slightly to the right which gives the effect of that flag leaning there if you were more in the middle potentially um the flag would have been more more level in the middle and might have been a bit cleaner as a result however this is where we are this is what we've got the edits that you've got on there so there's some tree edits in here to especially around this area here um to bring up exposure bring up brightness bring up saturation but let's go back to what i just said we're bringing up exposure so brightening we're bringing up brightness so brightening again we're then bringing down our highlights and our white so reducing contrast from the right and bring up the shadows and the blacks so we're reducing contrast from the left and it results in quite a flat look to these trees so here's before here's after i get the temptation to try and see all the detail in there but maybe we use clarity to get detail and a little bit less of this contrast stuff here or the anti-contrast call it the anti-contrast from now from now on um in fact that might make sense if we had a contrast box and an anti-contrast box that might help um but if anything you know i could afford a bit more contrast in there and you'll see you know the difference um in terms of getting getting some real structure into these trees because there are dark parts in here and at the moment the darkest parts of these shadows look if i look at the top of the screen up here where it gives me a readout of every number or every pixel that's beneath my mouse even in the darkest parts we're at 43 49 nothing's really that dark and that's also played out by the histogram here so let's have a look at what we could do as well with levels so we could pull our shadows to be a bit darker oh yeah i'm on the right one sorry ah but i'm on the trees layer so i'm going to go to the overall background layer and pull our shadows a bit darker and our highlights a little bit brighter but not too much that's gonna add some contrast back which just feels a bit more real a bit less flat than where we were before this this just has a bit more vibrance to it the flag itself i know you've got a layer on here that's called flag and this this layer here is designed to take the exposure of that flag out if i remove it i get why the flag is very bright but if you look at this mask and we're not pulling any punches today um it's a sloppy mask so if you're gonna mask around a flagpole mask around a flagpole don't mask ish around the flagpole because you're gonna end up with exactly the effect that we're seeing here which is the exposure being you know you've hit some of the water here not the flagpole there yes the flagpole there that's that's not great um and you can see the effect that it has so let's first off actually let's just try clearing that mask and let's try magic brush let's see what it can do so magic brush tool here remember in magic brush to turn off the entire photo sampling if you don't want it to look for this value across the entire photo makes sense when you say it keep tolerance as low as you can in some ways um i've noticed that magic brush is sometimes a little bit um a little bit keen um what on earth was that that's odd just turn my mask on okay so let's clear that again i'm going to turn down my tolerance even more and select this pole nope we still get the water so let's select the white of the pole that's going to do a better job still get some water yeah this is all doing well but unfortunately we're getting lots of the water clipped in too so with that mast and i don't want all that water up here what we're gonna do good example this actually i hadn't tried this should have done earlier on um magic brush isn't the the fix all for everything um so i'm just gonna use a traditional brush here and we're just going to mask we could try auto mask but i think it's probably going to get it wrong but we're going to mask quite roughly but still accurately so we're going to get most of the pole all in one go we're not going to include water and that mask is going to allow us to not use exposure funnily enough to darken it let's just fill in the rest of this flag along there i'm not sure if there's rules about darkening flags what if i'm not going to get in trouble i don't know i'm not putting it on the floor or anything so i think i think we're good um so with that mast and you see you know magic brush great it does a great job when objects are defined and separated and it does an amazing job with hair as long as the hair is defined the second you get sort of mushy or muddy um changes in between objects it's not quite uh it's not quite there yet who knows might get a lot better at some point um but it's a great tool as long as we've got a load of separation in this case here similar tones including if you've got white water coming from a white flagpole yeah of course it's gonna it's gonna have a bit of a problem there discerning it but that's fine that's what the old mask is for and that's why it's still there to use so i've got a flag now which is a bit more accurate with that flag i'm not going to pull down exposure i'm just going to pull down highlights and whites and then a little bit of brightness and that's just going to give you a more natural feel to it so you know get to there and there it just feels a bit better if you want to do this i would still back that away here because it's still a predominant feature in that picture so that's where i'd get to from there to there however i would personally go one further i'd be there having done all that um i may potentially have gone a little bit lower as well but remember we've got some great healing tools um within capture one so first off if we're going to do some healing let's just give ourselves some canvas space to do it because we don't want the healing areas going off the canvas i'm just going to try and heal the top part of this flag i don't care about the bottom bits we're going to crop it off that's going to do a better job up there and we're just going to try and heal some of the wake in here just so it's a little more subtle when we do our final crop into there so we know that there's wake there from a boat but you know let's not make it too harsh and then we get to maybe there that's kind of where i'd have it if we're not happy with the flag so if you're happy with the flag um paul has just said selective keystone in the flagpole yeah nice try there's no selective keystone we can't do that um but in in theory if you wanted to you know you could take this into a pixel editor you could shift that flagpole to be more straight but you know if the shot's not about being on a boat maybe it was if it was about being on a boat then keep the flagpole in but adjust that mask and and do be careful when you're not masking accurately especially with exposure because you can see it immediately if the boat's not important switch to that one right let's have a look at dan's shot of rome and i know exactly where dan was stood for this shot and i wish you'd stood a couple of feet to the right so we'd have less of this tree but anyway um so question from dan was how do we get the sky um a bit more enriched or more sunset colored i think because you sent three versions in i think this is the version that you'd sort of settled on so i'm going to clone that version um and there's a couple of ways that we can do this in here so first of all i think you mentioned in here down about um we want to try and bring um bring some clouds in um or bring the clouds in i think you'd said there's no cloud um so what you've got is haze so there's moisture in the air for sure um and that's what's reflecting a lot of this sunlight here but this isn't cloud so what we can't do is introduce clouds up here in capture one there are programs that do it don't but yeah again life's about choices um so let's have a look we're at 200 here being a little bit unfair but we do have quite a lot of fringing around here especially when we get out here into the trees um i had a look at the lens profile earlier you've got diffraction on you know purple fringing isn't necessarily going to help us here i was hoping it has here okay so up in the trees we still get a bit of cyan fringing and stuff going on but down here certainly using the purple fringing slider is going to help you in this case so let me just show you so without look around here look at these edges where we're getting all this fringing along here um and then with it's cleaned it up so this is something you will get around high contrast points especially at you know sunset sunrise when you when you've got low light a high contrast point with a wide lens as well you're gonna get this stuff so use that slider the purple fringing slider i've noticed um i can't remember when it was but at one point uh there was uh i don't know whether it was an update but it automatically started hiding which was a bit bit odd but anyway so so do expand that and if you see fringing use it if you don't see fringing don't use it it's not an automatic on but use it um and it'll it'll fix that stuff up pretty nicely so that's number one number two how to get the uh the sunset more vibrant so i'm gonna pre-face everything i do here with this needs to be based on how you saw that scene um and nobody else so at the moment you know this is a version that dan's done i'm gonna enhance that with some different um changes and colors and whatever but i wasn't there i don't know what it looked like in real life i don't know whether this is the right tone for what you wanted but we'll hopefully get there so on your existing sky layer which only seems to affect this area here and that's because of the luma range on there it's a couple things on this this layer so look at this stuff out here be really careful with layers like that um so your luma range that you had in here we've got that weird thing where i can't pull up a previous luma range hmm strange it doesn't really matter because we're gonna do it differently but that's that's starting to starting to get a bit annoying that so we need to have a wonder what's going on but this sky layer here if i turn it off and turn it on it's warming a little bit it's you know we're adding contrast into the sky but there is no contrast in here to add all all this slider will do going back to what we were saying earlier is take anything to the right of middle and make it brighter and there's a left and middle and make it darker this sky the area that you have masked is to the right of middle so all that contrast slider doing always doing is brightening or darkening the sky it's not adding contrast it's just brightening or darkening because you don't have anything to the left or right um to be able to stretch so this is an example where you know knowing what these things do will help decide which are the right tools to to tone um this guy so i'm going to remove this layer i'm going to create a new one i'm going to call it sky again and i'm going to use let's try our little magic brush so sample entire photo off from the default tolerance actually pretty high because of where we are refine edge at a reasonable amount and i'm just gonna draw in to here and add a bit more up there add a bit more in there a bit more in there a bit more in there will include now as we get into sorry frogging my throat uh something in here this is a real pain with magic brush because i don't want to be drawing in every single one of those dots so that's why we have sample entire photo on and i can click in one of these areas and it's going to get them all just be careful that it hasn't picked up something else like for example down here on the bottom of this shot so remember with magic brush you've always got the eraser so press e on the keyboard and you can erase the bits that you don't want included but magic brush as you see is going to do a better job than just a random mask with a hard luma range you can still apply a luma range onto magic brush also we can also still refine the edge of a magic brush so when you go to draw with magic brush you've got refine edge as an option here that's on every brush stroke but don't forget you can always go into any layer including a magic brush layer right click go to refine mask and you can refine the mask globally regardless of which brush stroke you were using so in this case here that refining we go from hard and if you look at these leaves here for example so no refinement on the edge through to a lot and you see it starts to creep in and soften around these leaves look out here we're covering some of the leave or leaf edges now back here we've got a lot of gaps so the refine mask tool is still as relevant with magic brush as it was before it's just that we can also do a refined mask within the brush stroke itself but now we've got a much better mask around the sky happy with that and now i can play so i can recover our highlights i could cool it down a little bit i could shift that tint to be a little bit more towards the pink area i could pull down our brightness a touch no we'll use exposure so brightness remember squashes exposure shifts so the whole thing moves or slides like on a skateboard and let's then clarity is not going to do anything in here if anything is going to make it worse but we can do is just bump not too much no don't do that but bump a touch of saturation up now i'm happy with that sky so if we go to where we were before to where we are now i'm pretty happy that that feels more dusky great but what about the rest of the image because the rest of the image is now the wrong color for this light that's in the sky now you could argue we could have done all of this in white balance but actually with all the different tones of light out here no because you're going to shift everything a little bit wrong so it's fine to use white balance to shift let's say everything to be cooler these areas here on these buildings will get cooler but these white leds or these these lights down here will also get cooler so you start getting blue and green um lights which doesn't make sense instead we can target this onto the yellows so a couple ways of doing that the first is i think dan had already done an area somewhere but doesn't matter on a different layer so i'm going to create a new layer and call it not sky right click here's a clever one copy mask from sky right click invert mask that was easy so i now have a layer for sky and are there for not sky just like with the radial filter we can invert and you get the opposite with my not sky layer i'm not going to change white balance because that's going to look look what happens with the water that's old so we're going to leave that where it is what we're going to do is go into our color editor and i'm going to pick on these yellows and these greens i'm guessing they're in there we'll actually use the advanced color editor in this scenario so i'm going to go on to this building here and i'm going to include not just the yellows but also some of these greens and all the way out until they almost get to white and we can shift the hue we can make it more green or we can make it a bit more red in line with the sky we could reduce the saturation of it let's not go uh 80s but but we can and actually in this one i would i just knock it back a little bit we could change the the lightness as well smoothness determines if you watch the outside of this um triangle how far basically the feathering of colors from the color you selected or that that wedge of the color wheel out to additional colors too and i pull that saturation down a touch more again and we get to there now again we've got this mask which is not sky so let's go on to our tools here i don't want to add more contrast in this shot because i've got so much darkness in here already that's not going to help me instead i'm going to just pull up shadows slightly again small amounts small small amounts but they do the trick bit of clarity and on these buildings i just want to pull in a touch of structure just on the detail and we get to there so we go from there to there and again going back to what i said um this is based on me not being there so it may be completely wrong but my gut feel is that probably feels a bit more like dusk than where we were here we just got this um the bright issue up here to start with cool so that's dan's we do still we've got time we're good um let's pick on simon's i'm not sure whether it's sunrise or sunset but a topic we haven't touched for quite a while let's just cover a couple of these things barry you're absolutely right there is no there's no orton effect either but there is also no norton effect there are no viruses currently in capture one and there is also no ability to add an autumn effect um you wish you could see the file size at the bottom of the image file size in what in pixels or in megabytes because megabytes doesn't really count because your raw file isn't gonna tell you how big the jpeg or the tiff or the whatever would be so i'm presuming you mean in pixel dimensions um yeah in theory you know you can go to the info tab and it'll it'll give it to you here um i don't think we can add that as a label um yeah i don't think we can but yeah put it in if it's if it's important barry and there's a reason why then then put it in as a um as a feature request under capture one uh paula yes sky and not sky are the two the only two layers you'll ever need that's true uh if you have a file with background sky and not sky you're pretty much set for most most scenarios um right where was michael would you heal the radio mast this is in dan's shot this one here oh depends if i was a historian or not um yeah you you could um just again i get nervous with cities especially well-known cities um if you start removing things that are permanently and obviously there you may find that someone calls you out on it but there's nothing really stopping you from removing that mask although there is something weird going on there it's probably a luma range calculation that i can't fix which i've seen this before but it's a luma range issue because i can't get into the lumen range we can't quite fix it but yes you could heal out the radio mask and it would um it would do a good job um where are we um actually would you blew up the water a bit it depends at in the evening you've got to be careful with this because water will reflect a huge amount of light obviously but as the light source starts to dim the water is actually going to transition from taking on the light from the sky to the light from the city so that there will become a point in time where it's um slightly slightly out you could do um you know in theory if i just do it very very quickly um i'm just gonna draw a very quick oops sorry not on that layer uh let's go back to create a new layer so i don't undo everything uh create a new layer let's just draw a very very quick uh gradient in there i'm gonna go to my luma range and we're going to discount anything that's too dark keep everything on this light with a really soft fall off and with that range i could in theory cool this down a little bit but you see what i mean it starts to become a little bit artificial um so just be careful yes you can but just be careful with it you might want to knock down the exposure a little as well um if you really wanted to to hit that correctly so just you know yes use the tool um if you want to if you think that that needs to happen but if you don't think it needs to happen absolutely don't use a tool unless it's absolutely necessary always general rule okay let's have a look at simon's shot so i said um we haven't covered this for a while and what this is is the curve so this is uh sunset or sunrise shot um let's just zoom out sorry there we go and the original i'd already played a bit with the crop on this just before we came online so let me just actually reset so this is our original out here a couple of instant oh actually yeah sorry peter's just made a good point the crop tool um so to i can't remember who asked it uh barry i think you asked about pixel size yeah when you're in the crop tool um it will show you your pixel size if you select the pixels so if you right-click um up here well sorry i'm getting lost stupidly we can actually control an exact pixel size you can effectively and then that pixel or inches or whatever is controlled effectively by your recipes your recipe being either in your proofing section here or in your export section in here we are using pixels for example 6000 pixels if i were to change that to millimeters and say it's going to be 50 millimeters you'll see this changes here in your crop tool to match your recipe um up here and that's going to give you that but that's going to be based on your actual output rather than the input file so i'm not sure that's going to quite do what you wanted barry but yeah it's one place that can go so let's have a little look at this one so a couple of issues number one the straightening let's just get the horizon straight i know it's difficult when you're out there but first things first get that horizon straight second the crop i think we can come in a little bit from the bottom um whether it's a custom crop ratio or not i'm not sure but you know to there that feels sort of okay i think actually that horizon's not quite straight even there it needs to be more oh it's a tough one maybe there yeah that's looking good okay next one big one we've got some blown out highlights here so the temptation would be to go into your exposure tab pull down highlights pull down whites and we get some detail back only we're not we don't actually get that much detail about look at these areas here it's still blown out if i put my exposure warning on although it's not going to show as it's overexposed let's just go back to over there look at those values 251 253 216. my exposure warning is set to 254. none of those values are going to clip and show as overexposed because not one single color is going beyond 254 so 251 253 205 it's telling me none of these parts of this image are overexposed my eyes disagree so with that exposure warning even turned off what i can do is change my curve of this image so at the moment we've got a really really high contrast image we've got bright areas out here dark areas down here we can see that on the histogram it's quite well spread out pretty much if i auto levels this it's probably not going to move too much yeah hardly any because we're using the whole width and breadth of the histogram but i'm going to change our base characteristics here from an auto curve which is basically film standard this one to linear response and watch this cloud in fact let's go into here watch this cloud when i switch this curve quite a lot of detail in that cloud that wasn't there before now it was in the raw data but it wasn't there on our interpretation of the raw data because that curve had been set to auto so there's our linear response there's auto if you have and we've talked about this before but it's been a while so if you have a really high contrast image really high contrast image consider switching to a linear response curve to start with because that's going to pull in the bits that the auto curve will push up in the brights push down in the darks and you end up with a very high contrast image great but unfortunately you're going to lose some parts of it too so with this shot now what i can do well what i would do is pull up our shadows a little bit i can control the feel of this and i'm tempted to make it cooler so the temptation normally with sunrise and sunset is to warm things up in this case i would be in a place of doing that and then a touch more tint just to get us some sort of cool um pre summarized light i guess then i'm in a place of let's pull up some contrast so look we've got a load of stuff here in the middle now i've pulled up my shadows that's going to protect them a little bit but now with my contrast slider i'm going to just push those bits in the middle slightly out from the middle not too far not to here but just so that we're getting a bit more definition we're getting some change between the brightest parts of the image and the darkest parts i'm going to add a very quick linear gradient on the very top of the image maybe to there pull down my exposure on that gradient that allows me now on the background to pull up my brightness now brightness you notice here we're still not hurting these clouds they're still protected because brightness isn't the same as exposure it doesn't slide the histogram to the right or left so if something's right on that edge like these were so these were two five two two five one or whatever if they were right on the edge in fact we're getting two five four two five five on the red i don't want to push them any further if i push exposure it's going to clip and in fact we'll get an exposure warning there we go but with brightness let's just pull down our brightness to there we've got a bit of exposure there we'll sort that in a second that's the contrast so again be aware of what the tool is doing in fact that's annoying i can't do it with the contrast tool because we're going to overexpose but brightness we can lift this look and it takes a long time before we get anything that's even close to overexposed so you can use the brightness tool a bit more aggressively but what i have learned by doing that is i can't use contrast because it's going to push that too far so instead in order to get contrast in this image we're going to go to our curve into our luma curve i'm going to protect my highlights by anchoring them and then i'm going to pull down my shadows like that and pull up our mid-tones so small change subtle difference from there to there you can see we've added contrast but by doing this anchor point here we've protected the bright areas from getting any brighter i can on the overall image pull up a touch of saturation again careful be really careful with it and that's probably where i'd leave it we get from here to here we're certainly rescued now if we don't like the tone or the white balance on that shot no problem clone the variant on our background layer we're just going to increase our warmth increase that tint or maybe even decrease it don't know increase our warmth we could go into our color editor and our color balance tool we could pull down our shadows to be a bit more moody but then bring our highlights to be warmer that sort of works so then we go from there to there but these are all variants that you can create and not damage the others um so oh got one minute left but let's try and cover some questions uh or are we changing the setting from auto yeah just be be careful with auto auto normally means danger um so uh as far as i know fujifilm movies also use the settings from the camera yes so if on on a fuji camera specifically this um curve in here the auto will basically pick up what you've used in the camera if you haven't set a film simulation in the camera it's going to use film standard which is the default for capture one but it will use whatever you've told it in the camera unless you override it and linear response is always available to use um if you need it uh can we consider use doing a session using a loop deck um do you know what i've got david and i've talked about this i keep getting sent um toys to use we've got we've got offered a can you use this light thing above your screen and can you use loop deck can use um what was it monogram or whatever which was before something else um if you're batch processing stuff these tools are fantastic i've personally found where i edit one image at a time and it's typically of a different subject to the previous one the automation stuff doesn't help me that that greatly um i'm happy to do a session on it at some point um but i'm not gonna lie i don't use them um they they would help me if i was shooting mass wedding stuff or or huge studio shoots with a million images of the same product but for doing um landscape sort of work it doesn't always um doesn't always work out um paula how would i enhance the lighthouse very difficult with great difficulty because it is so small out there um we don't we don't really have enough detail to be able to do it to be honest paula um if anything if we wanted a lighthouse in here standing further back using a longer lens um you would have still got this foreground but then more of the lighthouse because the uh the view would have been compressed might have helped but you know i wasn't there i didn't have that lens so i don't know what i would have done in the same time right um so remember everyone next week for those of you that don't know so if you um if you want updates on all this stuff um then join that thing that facebook group um so we'll cover stuff in there as well in between these sessions but um next week there is no session i will come back the week after so i'll put a note up on times and there'll be a thing on the youtube channel anyway if you subscribe to that channel and press the little um bell button or whatever it is it'll tell you anyway when we're going live so no session next week but there is a session the week after which we'll cover um in the meantime remember there's those youtube pro tips videos including the one that julie was asking about in terms of how to do a teal and orange style that's in there just look up styles and presets you'll find it there do keep sending in your images please include your name if you don't include your name can't include the picture so poryforlive.wetransfer.com send us the eip or the raw file with what the issue is we'll try and cover as many as we can but between now and when i see you all next which is a couple of weeks look after yourselves take care and we'll see you then cheers bye you

Channel: Paul Reiffer

Views: 7,690

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: KviuTbSmQhg

Length: 63min 57sec (3837 seconds)

Published: Thu Aug 05 2021