Live Editing Sessions - Capture One - 5th November 2020

hello everyone uh sorry a couple seconds late uh just finishing a couple of things we'll talk about in a minute um so good morning evening we got a full suite today uh we've got where are we uh canada mexico new zealand australia bruce is in missoula still jd's moved down from freezing cold boston down to slightly less cold new jersey um israel uk okay there's a few of you there cool okay so there's lots of you um from all over um welcome it's the normal thursday session obviously this week this is the highlight of the week it's the big thing that everyone's been waiting for um apart from the little um competition thing that's going on in the u.s at the moment so um welcome we are going to be editing capture one for the next hour um so as per normal there's a couple of things that are going to be uh announced today which is quite cool so number one before we even get going into capture one um version check so if you are not using capture one by all means go and download the free trial it works for 30 days no problem and you'll get the very latest version if you are using capture one everything that we show you in today's session is going to be in the current latest public release which is 13.1.3 also known as 20.1.3 and for those of you that have been on these sessions for a while you know that that's just a marketing thing um it's exactly the same version if you go to the about section in capture one you're gonna see um it says 13.1.3 that's the latest version if you're on a previous version you have the option of upgrading if you're on a subscription plan you should always really be at the latest version anyway because that's where all the bug fixes lie okay so before we get going into editing um we've got something cool today so um everyone's been um a little bit frazzled by offers and all that sort of stuff and what's the best deal to move up to version 21 of capture one well i've got an idea of the best deal which is this one we can give you a free version of capture one or the update more importantly so um as of right now it should all be live online there is a competition running and the competition is basically show us your best edit very very simple um we are going to give away that's me and capture one um the update to version 21 at the point that it's released to one winner there'll be a runner-up as well which all them and the details are on that page but basically there's some style packs um that we'll um we'll send out but the winner of the best edit will get the free update to version 21 or if you're already subscribing we're going to actually extend your subscription by an entire year so not a bad price um we are not looking for the best photograph and that's the really important bit we're looking for the best edit so david grover and i are going to go through these together and we're going to have a look at all the stuff that you guys send in hopefully it's there's some great stuff in there um and the person that produces the best edit whether that's um a natural edit or using a really cool feature that we haven't thought of being used in that way or just actually the best way of getting the best out of that camera it could be a recovery it could be lots of different things but the one that we view as the best use of capture one in its current version we'll give away a free version um for the next release there we go really cool um so not mandatory it's not homework you don't have to enter you don't have to do it um but if you do want to and for those people that are worrying about whether or not to go for catcher 121 or whether to take advantage of an offer well here's an option that you have you can go onto that page now learn how to enter and get going cool that finishes on the 22nd of november so just over two weeks that's enough time hopefully for you guys to work out your best edit um and then send it on in you cannot submit something that i've edited for you just just to cover that i don't think that's in the rules specifically but obviously you have to have edited it um and there we go so good luck um hope to see some really really cool stuff and in the meantime let's get into our normal capture one so here is a shot that sean sent in um we've got our grid enabled up here which is why you've got those lines along there i'm also going to show you before we even get started how to submit your image because in that web page or on that webpage you're going to see um a little link that's a little uh preview a screenshot that tells you exactly how to send an eip file but for those of you that are a bit confused so i'm just going to um get rid of our viewer a second so this is my browser so the browser normally sits up here or on the bottom depending on what i choose in my view menu so i can do here and i can choose place below which means obviously goes down the bottom or i can choose place to the right which is my default setting for these sessions so in your browser which is the little version of your image let me just hide the viewer there i can right click and go to export original so when you've done your edit and this applies for if you want to send a version to someone or send an edit to uh someone to print or whatever or someone to have a compare or even to me to have a look at what you've edited this is the same method so export originals not variants the variant exports the thing flat and we don't want to see the flat image we want to see the edits you've made and this brings across all the layers so export originals you choose where it's going to be sent in destination you choose um the file name so typically that's the image name but you can always add on to it as well and this is the most important bit pack as eip so if you pack it as an eip you'll see this little gray area becomes fixed include adjustments the eip and we talked about this last week is the combined raw and adjustments file so it's a lot smaller than a tiff at 16 bit for sure and it's basically one file it's kind of like a little package and in that file is the raw file with all the adjustments you've made in capture one you send that in to us and david and i have a look at them and whoever has done their best job at editing gets their upgrade to 21 for free at such point that it's released and that's all we're going to say about that so there we go um so that's how to do it um the cut the instructions are also on the web page so you just go to paul reefer.com future of editing and you'll get all the instructions all the rules and how to uh how to actually upload it in the link to the upload site so let's have a look at this picture um so this one is from sean again first things first with all stuff in capture one um we make sure that our lens corrections are loaded in first to the best they can be in this case it's loaded in the right lens the lens that was actually used to shoot great um it's loaded in chromatic aberration we can go to analyze if we want and that will then force capture one to actually look at this image so not just the chromatic aberration for the standard lens that the capture won't have tested in the lab in denmark but actually this image is aberrations um and it analyzes that lens on that sensor and what's come out and it will fix them specifically to this setup now at f11 we might have a bit of diffraction in there i'm not sure having looked in there it's that bad uh let's just go out to the edges a little bit and let's just turn that tick on it sharpens it up a little bit there's always another test that you can do so zoom right in before you do the fraction correction don't just automatically put that tick in standard thing that we always talk about um in these sessions is please use the lowest number of tools that you need to get the result you want so if you're shooting at a wide aperture 5.6 f4 something like that you typically don't need diffraction correction so don't enable it because you don't know what other side effects it could be introducing but in this case if i turn this off we see it's got a little blurry little softer um out here on the lens so if we turn it back on again it sharpened it up a bit so we may as well leave that in place now at 55 mil there's not going to be much distortion and we know that because capture one has already said for this image on this lens we don't need to roll in any distortion correction if we wanted to we could it punches it a little bit but it's not going to improve the image so why touch it and then purple defringing well if you've got any really really high contrast lines you might see some purple lines in this particular case there isn't any um or there aren't any so there's no point again in touching those buttons if you don't need to so with that done we know that we've got our lens profile loaded in correctly so this is the best version of a base image we can start with now we're going to go into our film curve so we we sort of go in and out of these things and we talk about them every now and then um so let's have a look at what the film curves will do so where this was shot on a fuji camera we talked about it quite a lot um fuji and now starting nikon will send across the film curves and the film profiles and simulations into capture one so it opens up all of these extra simulations that one's not bad actually um but it opens up all these extra simulations that you could have applied in the camera and if you haven't applied them in the camera you can also apply them in capture one but in this case actually the auto curve so capture one's standard or the default that's loaded in from the camera in this case is actually pretty good it's probably one of the better options that we got out of that list so i'm going to leave it on that but we'll come back to that later on and you'll see the difference and why we might want to change that on another image so on to our main tab in capture one and that's this one i'm just gonna make this a bit smaller so the picture's a bit bigger for you um so in this case um it's our exposure to have the histogram that we used the most and you'll see that's the one that we're in most of the time uh one question has just come up saying from andreas either like a q2 what lens correction should i use um i'm not sure is the is the q2 does that have interchangeable basically whatever capture one is record or recommended so the argument is on all of these ones there's an order so if capture one is loaded in the profile for your lens and it's recognized the lens that you were using then wonderful use that one if not hopefully you get access to this one manufacturer profile that's like the second best if not then go to generic general rule so the correct lens if capture one has recognized it or if you are sure it's the right lens but capture one for whatever reason hasn't picked it up in the exif data if you haven't got that exact lens that you're using look out for manufacturer profile load that one in and if it hasn't got that one it just won't appear if it hasn't loaded in the manufacturer profile into the raw then go to generic so those are the three so specific lens manufacturer profile followed by generic in that order okay um so jd is saying when version 21 comes out will you have an immediate session demo or we defer to david grove and catch one no we'll be doing it live um so it the second capture one is publicly available version 21. um we'll do the the next live session will do that and we'll probably have some stuff that goes out about the differences and so on um pretty quick from that point so yeah it's it's not um they're not exclusive jd will do them both together um okay and um uh release date of cash 21 please uh some time between now and forever um i can guarantee that okay so uh in our histogram um this is where most of our adjustments are made and it's because actually most of the tools loaded in here by default remember with capture one you can always add tools into any of these tabs as well so i can add in extra tools into my color tab or whatever these are the default workspaces that we're using so the default workspaces will lend itself to having you in the exposure tab most often but if you're finding there's tools that you want to skip by and you never use one or whatever you can always right click and you can remove some of the tools and add your own in and create your own workspace that's the important part with this build it around you so on this one let's just think about what we want to have a look on the image so i'd like this forest stuff to be a bit richer um just to bring out those autumn colors really well i'd like the mountain to start to come a bit more into the foreground a little of on the foreground but a little bit more as the subject um so in those terms we've got almost a set of recipes that we want to touch and the recipe is going to be let's deepen and rich in the foreground the forest let's bring out the texture and the details in the mountains and let's see what we can pull back in this sky because actually if i go on here to my exposure warning there's nothing that's actually clipped the sky's got a huge amount of detail in it if i pull down this highlight and that white area and let's even pull down the exposure we can see all this stuff in the sky here it's just the default as it was shot is a little bit over so we can probably try and bring that down as well so first thing let's try and enrich in the uh the forest so what i'm going to do is going to add a new layer i'm going to call this one forest and we're going to do a gradient mask so you've got two gradient options in capture one this one here is the round gradient so radial which effectively allows us to do a vignetted mask in any location of any shape of circle or oval that you want and then we've got the traditional linear gradient just like a gradient or grad filter on your camera so i'm going to press m for mask so you've also got the options down here m turns on the always display mask but it also turns off the mask so you use m to turn it on and then to turn it off it's a bit it can get confusing if you've got the mask turned off and you don't know because for instance if i'm drawing this like that it's only when i start drawing the mask that i realize oh i don't have my mask on so i press m on the keyboard and you'll see the red up here so as always the mask the red area is the area that's going to be most affected so 100 anywhere south of this line 50 here and 0 here so anything above this line has no effect on what i'm doing and this is our fall off the softer so in other words the bigger i make that fall off the more subtle the difference between the areas of the image that are having a hundred percent of the effect applied and the areas that having zero percent of the effect applied okay so with this one down here what we can do actually is we can use our little saturation boost so saturation be really careful with if you do it too much it looks horrible um if we pull it down to sort of somewhere less than 15 you're probably in a safe zone but even there i'm seeing these trees might be a little bit over the top so i'm just going to pull it down probably down to about 10 or 11 something about there yeah so again saturation slider a little bit like the contrast one which i i think people now think i hate the contrast slider i don't um it's just the case of it's a very blunt tool same with saturation so if you really want to get into individual colors use the color editor so go to the color tab down here you've got the basic color editor which you can layout here or we've got advanced and i could choose a color in this area here and say well actually anywhere in this arc we're going to change the hue the saturation the lightness that's going to give you a more detailed effect a more specific change but if it's overall you want to just give it a little bit of a pump then use saturation by all means just don't overdo it now clarity is going to make everything just punch a little bit more um we're going to leave it as natural because if i do it on something like punch you're going to see again it's boosting saturation again and we've already done that with our saturation slider so i'm going to leave the natural clarity on and we're going to punch that maybe up to 20 on the scale same with clarity a little bit um a little bit goes a long way so don't overdo it um but there we go so uh danielle's just asking did you use an empty or filled there so i clicked on an empty layer so this this layer here started out with just a plus so the default if you just click on the plus sign here it will always default to an empty adjustment layer if you want it to be filled so in other words everything affected um so the whole screen goes red then you need to hold down your mouse on the plus sign and click on this one that says new filled or let go on new field adjustment layer instead same with clone same with heal but they've got some automated features as well for the first one so let's just have a look at our mountain now so different piece so let's just go on to a new layer again i've created an empty layer i'm going to call that mountain and i have my mask showing but there's no mask on it because it's an empty layer so if i start the paint we're going to see that start to appear good so there's my 100 mask on my mountain now i want to be sorry just get rid of the question off the screen so you can see um and one other questions just come in um so where can we get other icc profiles if the lens is not listed from capture one so the answer is um and it's unfortunate but this is the reality um the list of icc profiles is controlled by the guys in capture one they will add a lens in based on a mix of is a massively popular lens is it a high-end professional lens is it a lens that a lot of people have asked for is it a lens that should have always been in there that some people have put in a support request if you don't see your lens listed go to support.catcherone.com lodge it as a feature request so that they cover that lens it's only when enough people start to ask for a slightly more obscure lens that capture one may even know about it so the default manufacturer ones you know the standards the the nikons the canons the sonys the phase ones the whatever um they will typically always be supported but if it's not then go on to support captureone.com put the request in and it's only when enough people do it effectively that it means that denmark are actually gonna go into a lap get that actual lens that's what they have to do actually get the lens sit in the dark room and do all the profiling um and it's quite a quite a detailed process so they're never going to be able to cover every lens in the world um if there's one that's missing that you think should be in there the only way of letting them know is through that support site okay so with our mountain um painted of course it's a very rough painting so for example on here if i were to turn that mask off let's say i was going to do a massive clarity change well it gets the mountain great but it's also clipping some of this stuff because my mask goes down over the forest and likewise if i were to pull down our exposure well it's also getting this stuff too so we don't want that we want to isolate the mountain so let's see what we can do with the luma range so there's my mask and our luma range basically mimics our histogram so we've got a histogram here and this luma range is saying anything from 20 to 235 out of a scale of zero to two five five including the mask but it's also got these ramps and it says anything zero don't include anything two five five don't include but as you get nearer to two three five slowly increase a bit like that border on the gradient so effectively feather the mask so what that means is i can have a really long feather that's quite handy isn't it um or i can have a really binary mask so if i have a binary mask like this you can see there's no give whatsoever in that mask so it's either on or off so 190 for example down here in fact let's just apply that and zoom in so you can see so here's my mask here with a luma range which is binary there's no fall off at all what that means is the changes that i make to this layer now will have a 100 effect on everywhere that's red but zero effect immediately on an area that's not red well that's fine but on a mountain those areas aren't just binary it's not sort of snow mountain there's snow a little bit of snow a little bit of snow less snow less low and then the mountain so it feathers naturally so we need our luma range to mimic that as well and you can see as i draw this ramp up effectively all the fall off as it's called slowly slowly it actually starts to it's still not affecting this area quite so much but it's feathering it makes it more natural that's the key thing um so we can also in this so there's our uh our binary mask we can add a radius so radius think of this as like a blur so the edge of that mask well now it's blurred so there's a little bit of softness at the edge and the sensitivity slider i can go to be slightly sharper effectively or slightly more blurry depending on where this slider sits it's defaulted at 50 this only comes alive when you have a radius set so if i wanted for example to make sure that our mounting up here was really really soft at its edges in my mask well what i could do is have a really soft fall off here let's go to there and i can have a really wide radius and a really low sensitivity and now we'll see that this is all really soft and it's a lovely fall off great but on a mountain that doesn't help me because i need to isolate the edges i need to make sure that the mask is affecting the mountain and not the sky behind in this case it will start to lose some of the um the change in that mask from down the bottom here we're 100 of that mask and it will slowly lose that effect all the way up to about here you can see there's still some pink left of the red up there and that's because we've got this massive radius so we really don't want that we want to make sure that we've got a crisp mountain but a soft fall off here so let's go to our luma range and say okay we'll have maybe a tiny bit of radius on there but the falloff is more important i don't want to include these clouds up here so we need to be very careful to put it down to about there that works add a bit of fall off in so we've got a soft fall off around here and then the dark areas down here which effectively is this foresty area we can pull this up until we're not affecting quite so much of the forest there's always going to be a bit that's included because we've got similar shades but then again i can do a fall off here and now i've got a mountain range separated i didn't have to draw around the mountain range you can do that with auto masking so on youtube you'll find the um the pro tip stuff um you're gonna have uh there's about a 20 minute video that we did about the way the auto mask works now you can refine the edges of the mask that's another way of doing this but we don't actually need to on here we can use this really quick way using luma range to say i only want this section of the histogram to be included in this change so let's apply that now with that area i'm going to turn my mask off so i can see what i'm doing and then we can increase our clarity by quite a way we can really push this in the mountain but we can also pull down our exposure and look at what's happening now we're getting an effect here on the trees that i really don't want but we can erase that in a second but as i pulled down the exposure we get a bit more detail a bit of structure put in around all the edges so in all these textured areas down here being unfair we're at 340 odd percent but without and with or if i do a before and after view so that's with our change that's without our change there's a bit of noise creeping in here so we're going to just back away some of this structure and some of the clarity that's fine and we're going to back up to there good so now we've got a lot more detail in the mountains coming back without affecting any of this stuff down here if we had affected it if i right click on this mask and say rasterize the mask uh sorry uh we want to actually that should do us didn't need to rasterize so i painted it in the first place that was me being silly so my luma range obviously applies to the mast i've painted if i want to get rid of these trees well i can just erase them manually down here and if i wanted them to have a nice little uh fall off on the edges will i make sure i'm using a soft brush so zero percent hardness and also we could pull down our opacity or our flow uh if we wanted to do it in sort of layers just to pull it back but in this case i'm kind of happy with that change there let's fine remember we're not doing anything major with the tree area we're not increasing its saturation or anything like that so if we have gone over the trees a little bit it's not the end of the world we're not losing anything but now we've got that mountain really coming up um interview okay uh where are we there's a couple of questions uh june um dear capture one i need to speak to someone out capture one in the recent order um june you need to go to support captureone.com um which isn't me unfortunately um so support.capture1.com is where everything technical everything that you need because that gets you directly through to capture one rather than me i'm i use capture one but i do not work for them unfortunately so that's the best way um and then dancers ask can you use filmas to include the snow or the snow patches within the mountain range you could um but remember they were actually already included dan um it's just the luma range that's excluding them so of course i've rasterized now but effectively imagine so that mask i painted so it was included but it's the luma range that's taking those snow bits out so if i right click on the mask and say fill mask the mask is already filled it's the luma ranges taking it out so it's not going to actually cover the snow we'd have to either rasterize it and then fill it in manually like i just did with the eraser or you'd have to somehow find a way of including it in the loom range itself okay uh and then finally sky let's call this one sky fine um i don't have to be too careful with this one because if i draw a nice little gradient down here i don't mind if i include the mountain in this why because i'm going to be pulling down highlights and maybe whites more than highlights which the mountain generally doesn't sit inside we could pull up a touch of saturation if we wanted to okay but now what i've got is actually a slight blue tint to some of this stuff so what we're going to do is just pick on this mountain and we're going to say well let's warm that up a little bit and definitely down in the forest let's warm that up a little bit there we go and that's probably where i'd leave it so in this case we go from where are we here it's really nice shot um it's a natural looking shot all we've done here is just enriched let me just turn off our i was on the gradient tool so you can see those lines all we've done is do the three things actually i said but we've enriched the forest we've pulled back some of the detail in the sky but not too much and we've just made that mountain stand out a little bit more um that's it it doesn't need much more than that if we really wanted to make sure that we're covering the whole breadth of the um the range of print then we'd pull our levels down a little bit from the top and up from the bottom so we're effectively stretching that histogram we're taking it from whatever was 241 is now 255 and whatever was seven is now zero so the darks get darker and the lights get lighter um that maybe gives it a bit of a boost when it's printed but again there's nothing that wrong with this shot to start with it's just a really nice autumn scene so there we go okay let's go on to francoise shot uh so um i was gonna cover keystoning with this but it doesn't actually need a keystone it's just a rotation bug look of it so first off again lens correction so in this case um it's picked up let's just go into our exif data so it's a nikon 2470 2.8 e e d vr uh let's go into our nikon section and we probably don't have um is it not that one record 2470 2.8 e e d vr i think it's that one um which is a little bit weird because i don't think an extender is used on this one um and it just hasn't picked it up so as we were talking about just now if you can see your exact lens which i think is that one yeah then we can load in the profile fine um that was kind of handy so we're gonna do that analyze on chromatic aberration at f8 there's probably not much distraction if i want to have a look in here and see what that does does it sharpen things up no not really so i'm going to leave it off but what we have got here is a bit of a lean certainly leaning to the right a little bit um just some other questions where are we so can you use a brush uh is it from daniella from um or some of the sort to erase parts of the mask instead of the luma range yes you can um you just go to that right so if if i hadn't done the luma range i wouldn't have needed to rasterize it so if i go to the rasterize mask i can then effectively um fix that lumen range where it was and i can start to erase and add in um into the mask manually if i want to that's fine um and then claudia's just said with the current dynamic range of cameras uh especially on why do we even need actual graduated nds uh simply because unfortunately the difference between um highlights and darks is still well above 15 stops in a lot of cases so i've been in places where um at sunrise or even in cities if you imagine a city skyline um at sunset your your sky and your sunlight can easily be way out of that range of 15 stops in towards the shadows and the deep darks within the city than the silhouette effectively so it depends what you're shooting you can um get you can get pretty close um certainly with things like frame averaging with phase ones or the dual exposure plus um function that we use now um that extends the dynamic range to just about enough to be able to deal without a graduated filter but every now and then i've still got a gnd on the front of the camera um just to balance out that scene so it's just about um i can't remember what the number was there's there's a number about how many or how many stops of dynamic range your eyes have um and cameras are still nowhere near um they'll get there maybe but right now no um okay so we could keystone it but i think this one can easily be done with just a simple rotate so instead of trying to drag four different um lines around and try and get it level we can do it this one um so that's a rotate all i've done is drawn along what should be the horizon there's another check that we can do to make sure that we've done it correctly so if i go to view guides this gives me a horizontal and a vertical guide and i can use the boats just to check and what you've got to be careful of with boats is their masts aren't always completely straight depending on what the for the boat is doing um so we can also use these buildings and all i'm doing is just looking at the vertical lines and making sure things like the reflection line up so this mast may not be completely straight but what i'm looking at is does the top of the mast here and its reflection here match which it does um same here that's not too far out this one's a little bit out so it's getting a little bit out but it's by a fraction of a degree i wouldn't even try um to fix that but most importantly we have a level horizon which is what we're looking for so i'm going to turn my guys off so view guides right now my gut feel is there's an awful lot of um extra detail in the sky up here there's actually some pink up in the sky but this down here isn't adding much into the scene so my first thought is why don't we give it a bit of a crop um and into one by two so let's just give that a try i've got a debate in my head just looking at this shot as to whether i want this mask on the right hand side and i don't think i do same logic that we've um i've talked about it before um with you guys so especially when you print when you get to the edge of a frame you don't want a new distraction or a new artifact or a fact creeping into the frame it just feels uncomfortable we as humans we kind of want things to complete we want things to finish and be satisfied when we get to the edge of something and if we start something like this edge of this mast i kind of need to see the rest of it to be comfortable so let's just have a little play if i remove this out of the crop and what i'm doing so again on that same basis you see these lines here that lead up to a mast well that's going to give the impression that i'm missing something so i'm going to come here to this tree so you can see there the tree sort of drops down we're happy with that that's the end of a tree um and that means i could shift up to here a little bit don't worry about if it's on the the middle or the one-third lines up to you um in terms of composition i'm going to probably move it to about there so i want to include some of this sky up above and that sort of does us there now i'm still in that place where this boat um okay i wonder if we want to go even more brutal um oops sorry just uh hit the wrong one there so what apps and what would happen if i came in right into there and although this feels pretty severe as a crop i'm just going to switch our um our ratio as well back up to two by three so when you're cropping hold down the mouse over here you're gonna get your different options of of ratio and the two by one sort of worked as it was a long piece but i'm kind of in a place where if i can lose this bright white box here and maybe move as much as i can up here i just think that's a much more fit complete photo a finished photo i don't have all this stuff over here on the right that's sort of starting a whole new story um that that sort of doesn't finish this feels like it's complete um so that's what i'm gonna go for in this case but if you don't like it obviously you could undo that and you could you could include more onto the right um okay so with this shot there's not actually that much to do with it it's a really well exposed shot if i go to our exposure tab we can see we've got a little bit of room up here in the highlights but using these things at the top these little numbers um we're just gonna move our mouse around and have a look so in the whites we're at 214 215 on red so we're not quite at 255. we've got a bit of room we could we could punch um some of the the histogram up a little bit we do that with levels so if i know that my brightest areas here are around 215 i know that i can safely probably pull this down to about 220 something like that and then equally in the shadows we could pull this down a little bit more just to get a bit more contrast now we've then got a decision to make as to whether we prefer it more pastel or more muted or whether we prefer more vivid effectively and i'm sort of in a place where halfway is not a bad place to be so i think there that gives us a bit more of a stretch in the histogram a bit more in terms of highlights a bit more in terms of shadow in terms of depth of shadows but we haven't pushed it so far that it's become too contrasty going back to the point earlier about contrast um absolutely so wrong wrong one we can use the contrast one but again remember what the contrast tool is doing it's drawing a line down the middle and it's making everything brighter than one two eight effectively bright everything darker than one two eight dark um and you just get this separation histogram it's nowhere near as subtle as a pull in levels or even bettering curves right so in here with the overall picture well we can pull up a few of the shadows not again not too much if we do that it starts to look cartoony don't do that really bad um so we pull up enough shadows so that we can see the details that might have been lost but i want to keep contrast so there's no point in trying to add a load of contrast in if we're then going to try and flatten it out with all the hdr tools the hdr tools reduce contrast that's the key thing with what they do okay so with this one here we could pull down our highlights a little bit but then we've just raised them up using levels so last or a couple times ago we did a like a fire blanket so you can protect your highlights and then that allows you to bring the levels of the whole image up i was a couple sessions ago in this case there's no point i want to bring the highlights up so recovering them is just going to darken them down again no no benefit to that instead i'm going to create a new gradient mask now i said about the masks if i hold down the plus symbol i've got the choice of an empty layer of filled layer clone narrow heel layer with any of the mask tools like a gradient filter or any of the heel tools the first time you start drawing a layer it's going to automatically create the right type of layer for you but only on the first time so the first time i create a heel there it's going to add a healing layer for me i don't have to create the layer first from then on if i wanted another heel there for there's a few different reasons um if i wanted another heel there i have to create a new hill there first otherwise it will default back to the first one it created right so we've got our mask i've turned the end button on to see that mask and with this one i'm going to pull down the exposure but i'm also going to pull up our saturation the reason being as i pulled down exposure i lose a bit of luminosity in it well not luminosity but i lose a bit of saturation in the color so as i pull that down i try and factor in a bit of a change with a bit of exposure and that also brings out this nice little subtle pink up here uh so we'll call this one sky and with our bottom i'm going to pull up a new layer so this one i had to create the layer adjustment layer one we'll call this one water and with this one we're also going to pull down exposure just a bit and it's all it's doing is it's pulling the focus into that center um and then with our center actually what we could do is just be really really lazy i'm going to create a new uh new empty layer i'm going to call this one boats and with my radial mask to a circular or a oval graduated filter i'm going to have a really soft fall off so it works in exactly the same way as linear one the further apart these lines the softer the fall off but i don't want to effect out here what i want to do is effect in here so i'm going to right click on the layer and say invert and then you can see the effect it's having so over here and with this layer just just press the m key to make the mask go away with this layer we're going to increase our clarity a touch like that and i'm just going to bring a little bit of white back um just to get some detail and that's it um now those are all and you've seen those are all really small changes they're really really tiny differences that we made in each of the tools hardly anything um in them but if i do our before and after you'll see we go from there lovely picture but let me just get rid of our uh our mask our radial thing that's distracting so we go from there to here so again really subtle change but it's just boosted that picture a little bit more we've just got a bit more vibrancy about it um we go from here up to here that's all we're doing now if i went to our original original and just compare the two so here's our original here here's our final one i think that's a better crop i think it's a better print um but um up to you so uh where are we a couple of questions in their questions and statements i guess so i also said the same thought on the crop uh david said i often use letterbox crop um but almost always an unconstrained ratio um yeah we've talked about this before typically these ratios up here um in terms of the the defaults are easy printable ratios so if i go to print a two by three shot there's no issue if i go to frame a three by four chart it's a standard medium format aperture um same with two by one panoramic same with one by three of course you can do whatever size crop you want if you wanted to and actually i think it was uh who was it allen's just said the empty space at the left of the boats is distracting so if you don't want that then just change your crop tool here to unconstrained uh let's just get off of here and i can pull this in to a completely arbitrary um ratio that i've chosen that's completely up to you we don't have to stick to those specific ratios however it's easier printing and framing and actually if you want to sell print it's generally easier with a ratio that people can understand very easily and they can measure very easily rather than something a bit more random but there is nothing in a rule book in fact even if there was i'd ignore it there's no rule to say you have to stick with those ratios it's just they're the ones that i guess we've just grown up with and we're used to um now out of the camera obviously a standard dslr 35mm camera will give you a 3x2 ratio a medium format camera will give you a 4x3 ratio but other than that you can do whatever you like um is there a way to emulate the dehaze option you can do in lightroom so there is um in fact i don't like personally i don't like the way that lightroom does dehazing we covered it last week um my concern with single button dehaze things is simply that haze is different um the haze from a streetlight is different to the haze of fog which is different to the haze of pollution which is different to the haze under water on mountains it's all different um and i think you're better off learning how the tools that you've got in terms of curves and clarity and so on can fix the haze that you're seeing in your particular picture rather than just clicking on a button and hoping the software gets it because quite often the artifacts that the software then adds in things like rainbow colors and stuff like that in gray areas um it's really distracting and it's wrong um so if you go on to again it's all on youtube um there's a pro tip called uh dehaze tool in capture one that will cover a lot of that um so have a look at that um where were we francoise made it overdone for the colors uh was my export want to see my edit i'm not sure what you mean francois um i know you sent the dng so i don't know whether this was already the edited version um but uh yeah so francois i'll use the contrast slider again you didn't so again i just covered um i think um the reason why and it's simply down to how you're expanding that histogram and the problem here's the perfect example actually if we look at our histogram here half of my so for the contrast slider to work perfectly i kind of need a histogram that's almost a perfect pyramid because effectively it's taking that middle point it's pushing this stuff brighter pushing the stuff darker it's not in this case it's not quite there and we can see in this histogram down here i'm having to pull down the highlights more than i am the shadows so the contrast slider is just a very blunt instrument that's going to go 50 to the right 50 to the left most pictures don't sit with all their data right in the middle um most of the the images that we deal with the histogram data sits somewhere around to the right and to the left which means the contrast tool will end up effectively making your image look either too dark like that in the shadows or too bright in the highlights you're a bit better off doing it a little bit more manually it takes a bit longer but the tools can give you a better result um okay so moving on we've got willams um shots and this one's actually probably quite a quick one just to cover off um so effectively this one i had a look at it um it's loaded in the lens profile no problem um don't have to worry about diffraction f4 i hope um with this and we are looking at an image which has got quite a lot of highly saturated color now if i compare to the previous shot of francois now this was very still water for a start but over over 13 seconds yeah so the stiller the water ironically the less of a long exposure you need if the water is pretty choppy like it was here a longer exposure would have actually given us a lot more of a smooth effect we would have got that milky water effect with these lines coming down so my temptation on this would have been rather than 18th of a second maybe not use quite such a high iso so that iso at 3200 that's a that's a pretty high iso and i think you might have got a slightly better result had you used a lower iso but for a longer shutter speed so uh you know maybe a two or three second long shot at a much lower iso and he would have got that lovely sort of trail of milky reflection in the water instead however this is what we have and it's loaded in the fujifilm um profile this vivid velvia profile um now the problem with it is i've just looked at auto you see what it's done to the colors now i'm not sure what what profile was loaded in to make the auto do that but if i go to linear response look at these two in in terms of that color saturation it's it's just made everything really really pop and that can be good but i'm just worried that it's popping a little bit too much yellow the whole scene has got this sort of green yellow tint to it um so i'm going to leave that profile in place we're going to leave the curve in place as a film simulation but we're going to use our color editor to just back off some of this stuff now i want to check one other thing as well and again it all comes down to perception in some cases but with my guides let me just have a look at are we level so this is level here this is slightly leaning in that one's level there it just feels like it's not quite it feels like it's leaning a bit down to the right and i'm not sure why um i just want to try a little change it's a tiny little change but sometimes they are with rotation you see that change there it's a tiny little change but i think that just feels a bit better um it just feels more level to me along this line here okay um right now i've pulled up the well sorry um sorry who was it was williams sorry um so william's already pulled up the black slider which has got a lot more detail in here if i go before and after this was the original shot here this is the edit and i don't have a problem with any of the hdr stuff that's been done so to pull up all this detail on the blacks is a good move i'd maybe back it down a little bit but what i would do is pull down my whites a lot more down the highlights a lot more so i get all this detail back in these windows um from where they were so if i look into here and we go before and after we can actually see what's going on inside the building with um with this recovery done so i'm going to leave that in place so we've got more detail in there but what we've also got on there is this strange level adjustment which i'm just going to show you what that's done so there's before there's after so normally with levels we're doing it to make things more vibrant in this case what william's done is he's pulled and there's a viable there's a there's a reason for doing this but effectively we've crushed the histogram we've made it less vibrant um by using the top sliders instead of the bottom ones so i'm just going to back that off a little bit not completely but i'm just going to back it off a little bit just to get a bit more of that vibrance back into this but what i'm then going to do is go to my color editor and i'm going to go to my basic color editor that's all it needs i can click on this bit here which is going to tell me it's in the yellows and pull down our saturation and pull down the lightness and i'm also going to click into here which is probably in the green area yeah and pull down again that saturation and down the lightness a little bit it just feels a little less um vivid over vivid let's call it that um in my head it just needs a little bit of a back off just to make it feel a bit better and then one final thing we're going to do is just add an extra little layer along here so a gradient layer up to here because again the same principle as i was talking about before with the boats i want the image to fall off as i get nearer to the edge i want to end the story effectively so i'm going to pull down saturation as well and down our exposure and i'm actually going to alter this to be a slightly harder fall off down towards the bottom here and that just finishes off the shot so rather than getting lighter as we get nearer to us um effectively we're moving into the image we don't lose we don't lose any detail in there either at the same time now on these side bits here we've got a little bit of room with our crop so i'm going to go to original as our crop and i'm just going to pull that in there and pull that in there because again i don't want these things starting at the edge of the frame i'm just going to shift it up a little bit because again we don't need all of this down here and to me that's just again the minor tweets compared to willem's original edit um and when we go from there to here i see what you were trying to do i get the hdr effect um and i get that you want to pull up all these shadows here i just wonder whether we could back some of them away just a bit um just to keep a bit more contrast um yeah and and actually as effect what actually pablo is just said less clarity and structure in the water it's a fair point actually um so yeah let's um let's just do one final little extra layer um and on this one i'm going to add an on the top gradient to about there so in this case i just want all the water and remember clarity we can increase clarity but we can also decrease it so we can make it smoother and the same with structure so with that layer here well we've actually smoothed out that water a little bit it's not the same as if we've done a long exposure um but yes pablo says your question negative ones absolutely so we can reduce the amount of distraction we've got in the water but we are relatively limited um based on what was originally shot okay uh where were we a couple other questions [Music] um in photoshop i take constrained image and put them on a conventionally sized canvas yeah so you can um in terms of the map so you can make the the borders uh work in a standard size for sure um but you know that's just down to how you want to print things david um what's the ratio for two and a quarter by three and a quarter format in the uh well you you can literally just put that in um so if you want to create your own crop you can go into here and you can say add an aspect ratio and i can type in 2.25 for two and a quarter by 3.25 by three and a quarter we'll call it uh where are we rb67 okay and then as i select that crop which will now be down here in my custom crops i can then do that and i've now got that ratio so you can always add your own ratios in here by literally just putting in those numbers in that box so hopefully that answers that one okay uh a couple of other extra ones we'll come back to them i just want to touch on roland's shot so ronald asked the question how do i separate the bird from the background um first off again load in your lens profile um probably not worried about diffraction in this shot the capture one has already decided there's some distortion you can see it there so back up to the hundred mark uh it's corrected the distortion in this lens sony fe um so our curve here is what's doing this so the auto curve is making that burden these highlights really really really bright i'm just going to change the curve to say linear response and look at the difference so i could do this by going into my histogram and i could pull down the highlights i could pull down the white areas and get all that stuff back but i don't even need to do that if i stop capture one from going a bit over the top with this curve so the auto curve will always try and make things quite vivid and punchy and just switch it to linear response i get a much more similar to the raw piece of content than what i do with the auto curve loaded in so with that curve loaded in now we can tweak so we've got all of this detail back here in terms of all of this stuff um if i go to before and after look at how much we're getting back which is great but we want to make sure that these guys are the star of the show so a couple of things then number one let's think about the crop um we want to keep the nest for sure but is this stuff up here adding anything i'm not so sure so maybe i want to just pull down into there or even we could can go into there but i want less distraction not more um so let's go there and in fact we're even going to go further than that we're going to go into there i think okay so now it feels that we're closer into what's going on now what we can also do is use our very handy little radial gradient so obviously it's a form of vignetting but the vignette tool in capture one so if you scroll down on the exposure tab you'll get to the vignette tool and this basically let me just turn this layer off so the vignette literally goes into the corners and out at the middle great but there is a problem with that which is if your subject isn't smack bang in the middle of the lens or the middle of the scene then that's not going to help me because it's going to darken areas here that i wanted to keep in the subject and it's going to darken areas over here and lighten areas here that i don't want so instead we can use a radial gradient and again keep it soft so that fall off needs to be really really subtle otherwise you're going to see a ring where it's been done and with this we can now pull down our exposure into this background and if i don't like how much it's pulled down the exposure here but i do like it here well i can right click on this and say rasterize so in other words stop behaving like a gradient start behaving like a normal layer and i can go to my eraser tool so either here or press e on the keyboard for erase right click and we're going to make it quite big and i'm going to go to probably 25 something like that in opacity and i can start erasing parts of what i've done just to bring back some of the brightness down here so think of it like a selective vignette so i've got my mask if i turn this mask into grayscale so you can see let's go display grayscale mask you can see i've got the area here that was now left alone but also we can effectively pull this out here as separate information so we can choose to erase these things separately from it being a gradient but you can only do that once you rasterize the the mask so you need to right click on the mask if you've done it through a linear gradient or a gradient um that's a radial version you need to rasterize it first before you can erase a part of the mask but this allows me a huge amount more control a couple of you have said an st's just said so how about crop in portrait um absolutely so let's right click on here and go to clone variant now i can go back to my crop and instead of that version we can do this version so we're going to get a bit limited in terms of what we can uh get to here i just want to look at something is that a piece of trash that the birds have made yeah so the birds have made their nest out of a piece of fabric or a piece of trash or whatever hmm not sure i feel about that um but yes we can have a portrait version now what it's done is it's carried over that mask because remember when you draw the gradient mask or the radial gradient mask even though we only drew it in this cropped version here the mask carries on outside of the crop so even though you can see there so even though it's it's actually quite tight in this crop the mask continues outside of it so it doesn't matter if i then go back to a clone of this mask and then start editing the mask again it's going to make no difference i've got the whole thing included in my mask because i use that radial gradient so with a portrait version versus landscape version i don't know entirely up to you in in that sense but what we can also do in terms of getting these guys details up let's go to uh in fact i'm just going to delete that version we'll do it in a second um i'm going to edit on one and then we'll create a different crop afterwards so let's go to our brush tool i'm going to create a new layer so we call this one vignette and we'll call this one birds and with our layer i'm just going to create quite a deep specifically around these guys and with that mask we're going to pull up a bit of clarity so that's going to make them pop a little bit but more importantly let's look in here let's pull up some structure and we get all that detail on the feathers and the edges and all the uh the textures up um with that we can if we want to pull up a bit of shadow as well so this is all about how do i get the detail back um to be on these birds and then there's one final extra one which i'm going to say head of big bird because i don't know how else to describe it um and with this one we're just going to go onto a little brush and you can guess what i'm probably going to do so let's just draw a little mask over the head of our bird there i'm not too worried about being neat and the reason is because i'm only going to affect the shadows by pulling up shadow and pull up black now to make that blend nicely we're just gonna erase around the edges so that we don't notice that that mask is going on i'm just gonna lower our opacity just so that we're blending it a little bit when we get to the edges but all that mask is doing is just allowing me to pull up the detail in that main bird um now with that done we can now right click clone variant go back to my crop and we can make that change to a portrait one no problem um because all of those masks and all of those layers have carried across with my clone and my variant and then i've got two versions but if i go to this version and we do our before and after there's our before and there's our after it's a lot more subtle it's a lot darker for sure but i think it keeps your eye more on the subject by doing it that way than by having all of those highlights and all those blowouts okay uh where are we in terms of questions so color when you start a linear gradient sometimes it's immediately a tight fall off and sometimes soft um all it comes down to is you when you start you've got to start drawing um so if i go back to our shot from francois here and create a brand new empty layer if i just click and let go i end up with a very very tight variant or very very tight mask if i click and hold and keep it held and move it around then i can soften it from the very beginning so that's just down to how you're um first doing it okay um so that's it pretty much for today just reminder so do go on to that competition site you can win your next upgrade of version 21 um when it comes out and um yeah just over two weeks david and i'll go through all those results we'll remind you again in next week's session next week's session will be on thursday normal time three o'clock uk um and so on in the meantime remember you've got that facebook group which has got all the information that we'll cover in the in the next week um before we get into our editing but overall four really really nice shots um do remember to send in all of your extra shots using this tool um so make sure that uh you send in a raw and if you want an eip file with the edits that you've already made no problem um and then also remember you've got those protips things so things like dehaze things like sharpening things like auto masks we've covered a lot of them in those um and there'll be more coming out um over the next few weeks for sure um in the meantime though stay safe um we'll see how that little competition in america finishes up maybe you are next week and we'll catch you next thursday at three o'clock see you later bye you

Channel: Paul Reiffer

Views: 5,660

Keywords: Capture One, Capture, One, Post Processing, Editing, Phase One, Capture One Pro, Live, Examples, Training, Learn, Lessons, RAW, Photo Editing, How To, Guide, Competition, Win, License, Variants, Clarity, HDR, Tools, Effect, Filter, GND, Neutral Density, Graduated, Masks, Natural, Histogram, Processing, Gradient, Support, 20.1, Features, Q&A, Lens, Edit, Crop, Levels, Adjustments, Contrast, B&W, Colour Mask, Color, High ISO, Noise, Reduction, Clone, Heal, Keystone, Black and White, City, Convert, Night, Light, 21, v21, Upgrade, Update

Id: zirtcKE49u0

Length: 62min 3sec (3723 seconds)

Published: Thu Nov 05 2020