Live Editing Sessions - Capture One 6th October 2021

hi people uh it's wednesday i know sorry um for those that didn't know um this was on wednesday um you're probably watching tomorrow um in which case we were here yesterday sorry um but for those of you that have well funnily enough notifications on um so on youtube there's a little um bell icon so you can click that and then if we go uh live on a slightly different day for whatever reason um you'll get a notification uh that we're going live and i think it's either there's like one choice of half an hour before or 10 minutes before or something like that anyway so those of you that are here today um welcome to those of you that are watching in the future slash past i guess um welcome back um we're gonna spend the next hour or just under uh going through capture one which is that software up there that logo if you go to captureone.com you can download the free trial of it and it's a raw processing piece of software so it takes your raw data out of your cameras allows you to convert that into useful stuff manipulate and also enhance some of the things like color and dynamic range and contrast and all the other stuff that goes with processing a photo nowadays rather than relying on a dark room to do that so we're going to spend some time in there the version of software that we're using today is version 14.4 so we went through this last week in last week's session the differences in 14.4 there are quite a lot of changes that happened in 14 4 not least of which was the export tab so that was a a bit of a quirk so it got taken away and it's now been put back in again in the latest version so if you miss the export tab and we're going to touch on it today because there's actually a couple of things that have have been asked about it and then you need to go on to 14.4 which is the latest version of 21 that's the current release for capture one if you don't have version 21 and you're on a subscription you have the right to upgrade um is included in what you're paying for every month so why wouldn't you be on the latest version uh if you have what's called a perpetual license so you've bought your license outright then go on to captureone.com and you can have a look at what options there are for you to upgrade if you want to if you're on version 20 you'll probably be able to follow along with most of the stuff we're going to do today if you're on a previous version there might be some gaps so it might be worth considering um switching up there is a new version on the horizon at some point um you'll already see the offers that are out there you know buy capture 121 get 22 for free um well is it free you bought it so i guess buy buy version 22 and then you can use 21 for now that would be my take on it um but those offers are out there so up to you what you want to do or for those of you that haven't touched it just use the free trial for now um you can follow along with your own images so let's get into capture one um so here's our standard interface this shot from i think it's georg rather than george without the e um but this shot here we're actually gonna touch on a couple of things um the first whoo i just grabbed a window and moved it which probably made you all feel a little bit odd so the first thing to look at is um the removal of the car so gil sent in a note saying there are a couple of things that have changed so one of them was the crop the other was the removal of a car you can see it in before and after if you don't have before and after either click up here on the menu bar you've got the before and after thing on there or you can press the y key on your keyboard and up it pops with a little slider so you can see before and after the other thing to bear in mind with before and after um i'm just going to pick on brian's image we're going to come into that later a lot of people forget that if you've got multiple images up so maybe there's two variants of the same image like in this case as i move the slider on one it's going to move it proportionately across all of the other images so the before and after slider it's actually linked across all the images that you're displaying if you can't see more than one image on your screen it's probably because you don't have this thing ticked or enabled um which is to allow multiple images to be viewed it will only allow you to see the primary the one with the bold border around it so if i click on this one instead as the primary even though i've got two selected because i don't have show multiple enabled it will only show me the primary image the reason i might want to do that is because with edit selected on i can apply the changes that i've made to one to a load of different images effectively at the same time but i might not want to be looking at all those images at the same time so edit selected chooses which of the images that i have selected it's going to apply those changes too if i turn this off then it'll only apply to the the hot image as it were and this one display multiple will display all of the images i have selected and then which is my point when we have before and after on it's going to work across all the images in in sync and if you look carefully one is a square crop one is a landscape crop it's do oh it's doing the changes proportionately so the middle is the middle the right is the right and in between you'll see this one accelerate more because there's more width to get across um than the one that's square so it's quite clever the before and after tool was actually a really nice add-on it was done a few versions ago now but it's a nice add-on and use it use it to compare it's really useful when you've made a load of changes to be able to look back and see whether or not you've pushed it too far effectively so georg's shot let's just have a little zoom in on the car because we're going to talk about this um in detail in a minute he's used i'm guessing the clone tool where are we oh no it's the heel tool so the healing brush um there's a bit of a mask over here and what the healing brush has done is effectively chosen this source over here let's just move that out of the way so take this source and move it over to here we touched on this a couple of sessions ago um about realistic um cloning and healing and there is a challenge to my mind on this one which is with the heel in place let me just remove the mask view i've suddenly got this mound of earth in front of i guess the doorway um and it doesn't quite suit in here it doesn't quite work um so we're going to talk about that in a second but the second question that google had was actually about export and icc profiles and all this other stuff and it dawned on me that um version 14.4 has brought back the export tab which has made lots of the commercial guys and the guys doing all the e-commerce stuff so you know thousands of pictures and clicks every hour it's made them very happy because it's got the the queue back and the processing batch and so on um but a lot of people still don't understand some of the features within that export tab so whether you're using the export tool this modal dialog box here or whether you want to use the the tab up here and if you don't have this tab just right click up here on the toolbar add tool tab and you'll find export mine's grayed out because i already have it on but if you didn't you can click on there and you'll see this tab up here so a few things i've i've noticed um one before we even get into this a lot of people have noticed that on 14.4 when you um do the upgrade you get a little window coming up saying setting up hardware acceleration and it says um it can be like two minutes in some computers i've seen it being maybe even 15 20 minutes and some computers it's 30 seconds um there were some changes that were made by the look of it into some of the engine stuff i guess within capture one it's quite a normal thing to happen with an upgrade so it should be a once or sorry once only um endeavor i guess for each version upgrade that you do but if you load in an old catalog or load up a brand new version with your existing catalog you might find that capture one wants to do its hardware acceleration check and all it's doing is it's optimizing your capture one for your hardware that you have so any graphics cards and everything you've got installed it's all of that stuff that it's doing just to make sure that you're running at top speed i guess so let it finish that it may be frustrating but it should only be a one time i've seen it happen twice on a couple of computers but once it's done and it's happy um then then you're all good what you shouldn't do is exit out of capture one and i've seen people you know force quit or um task model task manager i think it was in windows um and and end the task all that's going to happen is the next time you come back in it's going to do the same again until it completes so let it complete it's for your own good um and that's that's going to make your system run better so once that's done a few people noticed that in here wasn't strangely um the one of the jpeg options so the jpeg i think it was full size if you're missing any of these recipes so these are the default recipes and sometimes you know by accident we clean them up and oops deleted okay if you're ever missing one of these click and hold the plus button so if you just click the plus button you get an untitled recipe and you can call this whatever you want and that's starting from blank but if you click and hold the plus button just like in the dialog box the export dialog you get the option to add one of the default ones that are built into capture one so if you did misplace or for whatever reason that recipe is not there for the full size jpeg click and hold the plus button and then choose that one there it is with all your choices all good um serge just asking can i please ask you where the picture was taken um it's france i think from um york's note but i'm not sure not sure where but we can ask if george is online um or if not when you do watch this put it in the comments so that search can um can visit there by the sound of it um so the question that your cab was actually around um the icc profile so what he was saying was his printer or the company that print the images have given him an icc profile should he use it um and where do you select it so yes you should be using it um if you want to keep your monitor calibrated to your printer if you don't have monitor calibration or you just want a standard printout for a standard printer or you're just happy with the color space adobe rgb is generally what i would recommend people use for printing so this icc profile here for jpeg is set to srgb the reason most monitors in fact pretty much all monitors in the world are able to display most of srgb's color space adobe rgb's color space you imagine that the number of colors that it produces is much bigger than srgb and very few monitors are able to display even 95 of it let alone 100 so adobe rgb is great for print but your monitor may not be able to display all that detail all the different colors so you might see some color shift in there where it can't quite accommodate the exact color that the picture can build contains srgb if you're producing for web no issue now the icc profiles on here are sort of limited down because it's rgb output what capture one says is well there's probably only two that you're going to use adobe rgb or srgb if i want to see more i can click on show all and it's going to show me every single profile that i have loaded in this system so for example i have my xdr display um with the with the saved profiles that i have um embedded into this display so i can choose if my printer gave me one let's say one of these cmyk ones is a nice let's go for japan color 2001 i can choose that as my icc profile but look nothing's changed so why is that because what used to happen in capture one is my preview here was always live it was live proofing so if i went for let's say adobe rgb i would see something very different to my where was it japan japan color 2001 coated cool but this isn't changing there's a reason along with the export dialogue which gave us oh look there's a proof so here it's changed here's our generic cmyk profile if i switch to srgb bit more vibrant let's go back to our japan and it's flattened down so we can see we're proofing in the export dialog box so why aren't we here and the reason is because under the view menu you've got recipe proofing now you can enable it here and we will see exactly what that icc profile is displaying but more importantly let's just turn that off i can tell my proof profile to be fixed and that's what was driving this so my profile at this point was always going to be adobe rgb no matter what i choose it's always going to be adobe rgb of course i can choose a different one but maybe more beneficial and this is probably going back to the old school way of doing it is to choose selected recipe now this is the old way that we used to have it so if i go to selected recipe because this recipe has japan color it's going to use that icc profile if i switch to a different recipe a tiff that uses adobe rgb it's going to use adobe rgb in my proofing area so that's a bit of a whirlwind sort of tick box i guess look at this look at this look at this to almost summarize that and to try and keep it simple if you want capture one to behave like it used to as of 14.4 go to view go to proof profile and tell it selected recipe what that means is whatever recipe you have chosen in your export tab is what you're going to be seeing displayed in your viewer if you don't and you want it fixed so your proof pro or profile to always be one particular color space let's say i always want it to be adobe rgb that is what it's always going to display regardless of what i do so let's say i go back to my jpeg one which has got japan color um a cmyk profile capture one is always going to show me it in what i've chosen in the view menu so it's always going to show me the proof profile as adobe rgb 1998 it's not going to show me the one that i chose in my recipe if i have that set up like that and i use the export dialog box this dialog box is always showing me the recipe proof the icc profile that's chosen for the recipe i've selected and this is one of the things that capture one tried to make a bit simpler because what was happening is people were forgetting that they had one of these recipes chosen so let's say i did have this one chosen and i have my um so now when you go to recipe briefing you'll notice it says proofing at the top it's warning me that i'm in a proof profile and you'll notice my colors at the top are now cyan magenta yellow and black if i don't have that and i choose my proof profile as selected recipe i could now be going into here and thinking right well with this recipe let me just clone this so we don't ruin kyog's shot with this recipe is very low contrast so let's add a load of contrast in oh not too much but that's now really flat so maybe instead of just that maybe we need a bit of a curve um maybe like there bring the mid tones down oh it's it's not really working maybe it's dehaze so i'm making decisions based on what i'm seeing without realizing that in my export dialogue because i've chosen this recipe that has that icc profile loaded i'm affecting it based on the print proof rather than the rgb data and if i'd selected another one so let's say tiff now the changes that i've just made are really bad because i'm now looking at it as if it would print out using the adobe rgb color space so your icc profiles are controlled by the operating system so you load them into your color manager in mac it's color sync i think it is um you load them into there from your printer or your chosen place to download it and you apply them to the recipe that you want to use that profile on so if it's your tiff recipe for print then you would load it in here and you choose your paper profile your printer profile and so on i would recommend only doing that if you're using a calibrated monitor and i'd recommend only doing it if you're serious about doing the proofing all the way through from start to finish if you are always producing an adobe rgb and you all of your recipes here are always adobe rgb then it may be worth just flipping that off from selected recipe and just setting it to adobe rgb so you don't make any accidental mistakes when you've got another recipe chosen or something like that and remember your export dialog box this one is always going to show you the proof of the ib or the icc profile that's been loaded so hopefully that makes sense um in a roundabout way um anthony's uh i haven't really upgraded the latest dot release of capture ones it's safe to use or should i wait i'm finding this version i had i don't know if you um saw some of the previous sessions that we did but on 14.3 i had a couple of weird bugs and anomalies and things that didn't work 14.4 has been a lot better i think there's a lot of bug fixes in there and there's also some speed improvements on um collection loading within catalogs so i'd say it's uh it's probably worth doing um where are we polar are confused by duplicate icc profiles so they're controlled by your operating system um i don't know if you're on windows or mac but certainly on mac if you just go into colorsync um the colorsync utility i think it's called if you find duplicates in there just remove them um make sure you're you're leaving i guess the latest version um but tidy it up in there you cannot tidy it up from within capture one um you've got to tidy it up from the operating system um sorry what's the other one paul um a dedicated webinar from david on printing yeah i can pass that to david um i'll tell you the problem with it because david and i have discussed this quite a lot funnily enough the problem with a dedicated webinar on printing and profiles and recipes is there is no such thing because your monitor and your printer and your style of printing is completely different to someone else's and the the depth that you would need to go into to cater for people that have a calibrated monitor people have an auto calibrated monitor people that have a daylight toned light bulb set up people that work in a dart room that's completely different to the way that you're gonna set things up to people that are using for instance a laptop or a standard monitor then you've got printer profiles then you've got paper profiles then you've got for web production and so on it would end up being a four or five hour webinar um so on this stuff i genuinely would recommend just working with someone with your specific setup so someone that knows capture one someone that can go through it with you but your specific setup and get your workflow sort of pegged in from start to finish i've worked with people on it in the past um and and to say it is unique to everyone set up is an understatement um you've got to get your workflow right and that's why i would encourage people you know yes learn how to install icc profiles how proofing works how calibration works but for your own workflow you need to build it around yourself there is no such thing as a generic webinar that's going to cover everything that you need in there um where are we uh on the new upgraded one i noticed an improvement on loading the images yeah it is it is noticeably faster i'm i'm finding that too so that's good um they're still working on point releases making them better um klaus printing direct with the print functionality capture one what would you say um you can um printing out of capture one remember it's still using the same print driver it's still using the same ironically having just talked about it icc profile um so you know there is nothing wrong with the print function within capture one this is a that printer over there um i wouldn't recommend printing on that particular printer but this dialog box here is capable of doing all the stuff that you need for a standard print the second you want to start doing multi layouts and all the other stuff then you're going to need a different print engine it may be there are lots of them out there um but you'll also find people that are printing out a photoshop you'll find people that are printing directly out of um dedicated software that comes either with their printer or um or otherwise um but i know a lot of people that do print out of capture one with the correct color profile loaded in um there's nothing wrong with doing it that way um again it's just personal choice um paula i'm on a mac adobe rgb for instance in the capture one dot c21 folder and in the root folder ah um i um i don't know what one to recommend paula um but i my temptation if if capture one is the only application that you're using at obrgb for then maybe you leave the capture one um one in place if you're using it across the system then stick with the one that's in the system folder because obviously other applications may not know to look in the capture one folder um and paul grover is off the hook yeah grover owes me a beer for that conversation um but the point being yes the generic tools we can run through um over and over again but your setup has to be built around you so that's the export tab and you'll notice the difference the key thing being this export dialog box is always proofing the old export tab also used to be always proofing now it's i think by default maybe even not maybe i've set mine but just be careful that you don't have it either set to a selected recipe when you didn't mean it or set to a dedicated output when again you didn't mean it because you can be making editing decisions based on what you're seeing and what you're seeing may not be the actual proof if you want to know that you're seeing the actual proofing then tick that box and you'll see it says proofing on the screen and you're able to know that this is using absolutely the icc profile that is chosen um so if i choose a different profile it's gonna do different stuff [Music] maybe not show us too much in there but um if you do recipe proofing it's going to show you at least something which is correct um to what's going to come out when you export that tiff or go to print it so to an or to remove the annoying banner up there so you can see the whole picture i'm going to turn it off but that was our quick um just reminder on how export used to work and still does so back to georg's shot which someone just said um [Music] i think it was pascal here we are i'm not even gonna pronounce that i can pronounce britannia i can't pronounce the first one um so yeah wherever that is you've got a moment to write it down um that's where this is apparently so let's talk about the the healing clone because there does come a point in shots like this where i look at it and think we've got a choice here it has replicated this piece of boulder here and it didn't need to i'm going to turn this off and gasp we are going to i've just seen the the bug well not bug the removal i think that some people have mentioned so their edit with didn't have adobe photoshop listed on there nor did this for some reason so for whatever reason um we're in a weird place but i'm going to just switch this out and we are going to edit in photoshop which hasn't loaded up the picture for some reason which is a bit a bit odd um let me just do something here one second uh let's find it for a start um sorry about that for some reason it didn't open in photoshop so we need to work out why it's a bit odd but yes every now and then we will go into a pixel editor and we will make changes in photoshop rather than in capture one the reason why frankly because photoshop has got a couple more powerful tools when it comes to um doing stuff like removing cars so first off we can let's just do a quick content aware phil so let's just choose this car really really rough doesn't really matter too much as long as we're quite close and we're going to do a full-on content aware fill and we can obviously choose an area that we want uh photoshop to be able to select from and because i've changed my window we've got a bit of a weird thing going on here and i'm just gonna come and zoom out a little bit here and tell photoshop that well i don't really want you choosing bits of this wall to fill in i don't really want you choosing the windows bits of the door may be okay and see what it does and that's done a pretty good job i would say let's get rid of this just in case it's picking up any of that there we go a bit of that let's get rid of that maybe no we want to leave that in so we've got the corner of the door and this roof here okay so i'm going to apply that to a new layer and there is an argument that says that's probably a better fill than we got with um capture one and of course with photoshop we also have the ability with this to go in with our stamp tool and our other healing brush tools as well and go even further so i can pick up with my stamp tool and maybe we put in a very very very light um maybe a 50 percent opacity of this uh brick course that goes in there let's just go along there so it's a bit more blended there we can probably pick up some of these bricks over here oops maybe we pick on those that looks a bit better a bit more realistic uh maybe we want to in fact let's go even further we could take this part of this wall here and we could bring it over here let's just flip our width and we could even just add in a bit more doorstep if we wanted to and then with our eraser just make it nice and small um just blend that in a bit better but you can see the point here which is in photoshop i've got the ability to effectively recreate that door if i go back to our original and there i've now got a convincing layout whereas in capture one with our um car in there this just feels a little less um i guess correct or realistic and that's one of the the challenges that we have with with capture one which is the healing tools and the clone tools are great at doing almost broad brush stuff um but when it comes to things that are intricate pixel changes i would genuinely be in a place where photoshop can possibly help us a bit more even to the point where it's just blend that in there a bit better oops so let's just use our um heel brush instead i'm just going to blend that in a bit more realistically now davis just made a point which is you know wouldn't you do the photoshop stuff absolutely last absolutely yes i would um i wouldn't choose to do the photoshop stuff first but in this case i'm just sort of using it almost as a demo to say you know we would absolutely bring this out into a pixel editor it doesn't have to be photoshop it could be affinity um could be a another pixel editor you know all good stock is available and all that stuff um but yeah ideally you want to do this last in your process so you do all of the raw adjustments first then bring it out into a pixel editor to do the finer detail stuff and just remember those fine details um that's what a pixel editor does it can take individual pieces of a picture manipulate it it can flip it it can you know we can use transparency over it and so on just to in a bit more of a finite detail more importantly remember the clone and stamp tools or clone and heal tools in capture one always go back to the raw data in here in a pixel editor i have the ability to effectively squash all of the changes i've made into another layer and then take that stuff and use that as the basis for the next deal or the next clone i don't have that ability in the raw editor so if i'm using for instance bits of this plant that is now created from where the car was in the first place if i try and do that in capture one it's going to go back to the layer that had the car whereas in this i can you know do it from the next layer and then once i've made those changes build on that again the problem is it's destructive editing in the i can't go back now and say actually i want a bit of that car left i can in a way because i've left the layer on there so obviously i've chosen to do it on a separate layer which helps do the going back but it's not the same as capture one is able to do in terms of well we'll have a little bit less of this one and you know maybe maybe actually i do want to go back and change the color of the car so i can't quite go back to those there's adjustments in photoshop in the same way or affinity or whatever in the same way i can with capture one so for me i would be in a place where on this particular image and it's rare that i say this you know but on this particular image where we have to effectively reconstruct part of that door i would be tempted to do it in a pixel editor rather than capture one because it's just going to look a bit more convincing there we go we said it that's also the same for things like um distorting um bends and stuff like that um on images if we want to pull one particular direction out that the keystone tool can't quite get to all of that stuff that's exactly what a pixel editor is for other than this georg um so your icc question hopefully we've answered it um the edit and the crop i like the crop um if i go to a new variant so this is our before we can see what york's done you know there's an enhancement there and certainly in terms of you know bringing some moodiness into these clouds we've got a little bit up there we've got this rock has been brightened up so originally it was a bit more shadowy here um overall on the base edit so like we talked about in the last session um having a layer that is filled so press m on your keyboard to get the mask up i can see the whole image is masked that layer has the global adjustments for clarity structure and this levels adjustment and that layer has basically lifted the image it's made it less flat if you look at the histogram what it's done is it's taken the histogram that was quite central so quite muted very very similar tones and by using the levels tool this one here we've mapped this bit 200 to be now 255. so stretching the histogram the brights get brighter the darts get darker and you end up with an image with more contrast we could do it with the curve as well but in this case york's way of doing it with with levels has worked perfectly fine um the background layer standard characteristics is on the auto curve if again auto i would leave it at this because obviously you want contrast in this shot if we switch this to be linear response you're going to lose that contrast because it's going to squash that histogram back down again auto or what is film standard is going to give us a a nice pop effectively or a built-in s curve if you want to look at it that way so the highlights are brighter the shadows are darker and we get a nice lot of contrast built in so that shot there i'd honestly giorgo i wouldn't do much more to it my gut feel is the keystone's a little out i'm gonna stick with this version here the tiff that i've done in photoshop let me just uh up save that down so the tiff that we've got out of photoshop that now has the van missing i can still edit this so this is the other thing to bear in mind so here is my raw file that kyog has done here's the tiff that i made the change to in photoshop now i can still edit it i can still go in here but what you'll find is the white balance is set at five thousand and zero tin and actually when i start to change that look it goes odd when we've got a flat file so no longer does it go cool to warm it now goes sort of blue to pink tint also is a little bit off sometimes it's although it's less effective than the white balance i can still do some of this stuff but whereas before with highlight and shadow and and black and white we could pull on extra dynamic range that was in the raw file and pull it back into the visible histogram i can't do that with a flattened tiff file because it's discarded all the information that wasn't within 0 and 255. so going back to um i think it was oh who was it the last david sorry let me pull it up again so david's point about wouldn't this be the last thing you do pulling into photoshop yes because of this however if you don't want to affect white balance and you're not worried about pulling in more dynamic range you can still do clarity you can still do structure you can still even do dehaze on a shot and in this case i might pump clarity a little bit more structure a little bit dehazer touch and of course i can still do keystone so on here i've got a bit of a fall off going away from me there um so we've got some perspective distortion where this part of the shoreline was closer to me than that part over there well if i choose turn again this isn't you don't have to this is choice but if i choose to i can follow these lines here and we can stretch this image so it becomes more level now again the whole point is it's up to you whether or not you want to do this um i might just rotate that a little bit back there oh no that's too much so this is now down to how you want to play with your image but i could level that out completely and and have a slightly different scene but that's up to you at this point you can do all of this to a jpeg to a tiff to a heic you can do it to a whatever file you want even a png you can do it to a gif if you want to there's nothing stopping you using most of the tools on a flat file but where you will fall down is where you want to pull on dynamic range like using levels and curves or the hdr function here or in white balance you won't be able to do that with a flat file where you can within the aol with the raw or in this case the eip um alan's for very occasional users psn and affinity are intractable relying heavily on shortcuts yeah i get where you mean uh i get where you're coming from i agree um so if you're using photoshop all the time you get very soon and very quickly you are an affinity that is you get very quick at the shortcuts you get very used to it and in fact in to certain extent if you're used to using layers in capture one then photoshop layers start to make sense especially when it comes to opacity and compounding things on top but uh yes it's a very different tool set is a very different way of working it is a different set of shortcuts different set of processes and if you only use it one in once in a month or whatever it's gonna be very easy to forget how to use that stuff um more and more some of this functionality is coming into capture one so capture one is is getting richer but there will always be some things that a pixel editor is needed for the raw editor can't quite grapple with um and that's got to be you know your choice whether or not you know you you can say well actually i'm happy to leave it i'm just undoing this stuff um i'm happy to leave it as it is um and not worry about it too much or you can say do you know what actually it is worth it to me um to do those extra bits and and for that i'm going to go on a bit of a learning curve but um i can't decide how you how you want to spend your time my gut feel is if i look at these two so the top being capture one's heel brush the bottom being a pixel editor's healing brush the bottom feels more convincing to me than the top is it worth learning a whole new tool to do that only you can make that decision um but the tools are out there for sure uh paul do you think you can still color grade the tiff just like the raw uh no you can't um is this the short answer you can still color grade uh so we can still go into our image let me just uh come out here so this is a tiff file it's a flat file color grading isn't using necessarily any extra data that you're missing now um it's still using that reference of mid tones highlights shadows and stuff like that so we can make this image feel very different to what it did before but um remember in the this way the standard color balance things like highlights well if i now make a change to pull back some more data into my highlights in a raw that has an effect on my color balance tool in the tiff i can't do that um and likewise if i made changes to the curve to pull up some shadows or something like that or shift the mid-tone point so remember on my levels tool i can move my mid-tone point here around i can move it to be brighter or darker and that would affect what is included in this mid-tone dial here and the shadow dial and the highlight dial and all that stuff um so with that in theory if you leave it as is then yes if you make a change to these um these sliders here you have access to similar color grading um abilities i guess um as what you would do if you were using the non-uh or sorry the raw so the non-flattened version so these tools will still behave the same what you won't get access to is the extern or extra nuances that come in through the ability to then shift what is a highlight and what is a shadow and what is a mid tone because you don't have all that data left anymore whereas in the raw file you do but you know like for like um if i want um let's just prove it actually so if i save this preset here's a fun one so let's save this color balance tool and call it test grading i can apply it to our raw file so let's create a new layer new filled layer and with this tool here i'm going to tell it it's going to use test grading so do these two look the same yeah pretty much yep the difference being that in this one here i can go back in now and change what is a highlight and what is a shadow and even i can change the color balance that underlies that color grading i can't do that on the flattened tiff so it's it's it's a limitation of what you can then do rather than preventing you from using the color grade tool i think that makes sense it did when it came out of my mouth but if it didn't just yell um titan so in summary do everything capture one then fix the pixels in ps yes uh or if you choose to that's that's the thing um but if you want to do it then yes so do as much as you can all the color work all of the dynamic range work all of the contrast work do all of that stuff in capture one first or any raw processor but do it in raw once you've done that then go into your pixel editor for effectively the final touches the bits that you need to fix um tiny little bits of extra stuff the classic one is um if for instance you've got a telegraph line or a power telegraph line how old are my god uh so a power line going across um here well the healing brush in capture one is capable of doing it but honestly you're gonna you're gonna hate life after spending that much time trying to get it right content aware fill in the pixel editors is gonna be a lot lot faster and more efficient at probably getting a slightly better result as well when it comes to that level of detail um and yes so to that point for david's point so yeah if you can do it in capture one then do it then great um but uh yeah otherwise um you may want to use something else uh if i do something in capture one sorry and something in photoshop says michael and then back to capture one and make an eip is the tiff included no um this tiff is a variant in its own right if i create here and say export original files here the eip that's packed is the raw file and any variants of the raw it will not include the tiff the tiff would need to be exported as its own original file i believe do you know what having said that i'm just gonna do it just to um just to make the point so i'm exporting the original files because i may be wrong maybe i haven't actually checked it but i don't believe it is having said no quite triumphantly let's just double check so packers eip export one original and let's just see where i'm just going my finder window up um let's just see where were we 53 and 97 meg ah no is the answer no um so the eip only contains the raw file and the um adjusted layers it does not contain the exported tiff however this exported tiff in your capture one catalog or session is updated so it is from um photoshop affinity if you go into those sessions uh and edit something then it is gonna pick up any changes here um you might have to just click off of it and go back on like i did earlier to get the preview updated but no other than that um it's the eip of the raw file will include the raw file and any adjusted variants it's not going to include the tiff let's move on to another image um brian's image because we picked up on it earlier so um [Music] this is oxbow bend i think from what brian said um which is a lovely place to sit in wyoming but um here's our original shots just do our quick before and after again and here's our final image and do you know what i don't want to change too much of this but i think something has happened and i think we may want to look at fixing it which is by making the mountains clearer and i'm up for opinions on this so i don't know whether um whether you guys think this but to me the birds have kind of been lost a little bit as the mountains get more vivid so you know maybe i don't know maybe i'm just seeing things but to me the act of making the mountains clearer has lost the birds flying in front of it so i'm kind of tempted no what's annoying is i know brian spent a lot of work if i look at these um you know mountain tweak here we've got some clarity build up here some dropping of shadows so normally in high dynamic range we'll try and rescue things and we do it quite often so bring down the highlights up the shadows and all that sort of stuff in this case brian's used it quite correctly to to make contrast so we've you know reduced the shadows we've brought up um some of the uh some of the clarity in there but effectively brought down brightness and and lowered the toning of of the mountains themselves to effectively make them more vivid and more bold but in doing that we kind of lose i think he said there were geese but we kind of lose this flock of birds a little bit because it's just so sharp compared to what was there before so i know you're not going to like this brian but i'm tempted to remove all of that work um on that layer um or at least uh maybe back some of it away so you know maybe i uh maybe i'll reduce some contrast that might help the let's just pull up our whites pull up the black a bit reduce some clarity on the mountains i just want to check something actually on these mountains that these birds are actually excluded if ever you're struggling to differentiate between what's masked and what's not go to your tool up here on on version 14. whatever it was zero 40.1 you'll find this tool little eye down here on the layers palette but for anyone on the current version or 14.3 and on uh you'll find it up here go to display grayscale mask and that will show you what is masked and what isn't and on here um i'm guessing it was a magic brush one if not it's a luma range but we have got the the geese excluded so we've got a mast that does only pick on the mountains which is kind of handy because i'm just gonna now go back to here and say well okay so if it's only the mountains i could actually flatten all of this so at the moment we've got a levels tool here which is flat we often use it this way to bring in more contrast well i don't need to do that i can do it the other way i can actually bring in less contrast by shifting just the mountains and just these tones into the middle and then i can also shift how bright or how dark they are so by brightening the mid-tones and by flattening the mountain content so we get rid of some of the the very bright highlights rid of some of the dark shadows we actually then end up almost um i guess softening the effect of the mountains of the background so the birds become a bit more um a bit more punchy again um whereas here they just seem it's just so crisp behind them they kind of seem a little bit lost um colors down here i you know personally i like um i'm i'm sort of getting every box ticked with them they are moving a little bit i'm guessing there was possibly a bit of wind going on out here um so up here certainly in the tops of those branches and we can see bits on the the water here but um overall obviously the geese are nice and sharp so i don't want to bring too much attention down here um because we've got some stuff with um not some not so great focus whereas over here i think being a bit too far there over here we're probably a little bit sharper uh maybe there was less wind going on over there but with that said let's just go back to our trees because they have been brightened and enriched and it's it's actually with the brightness tool that most of that's happened i'm just gonna back it off a little bit because these over here are feeling a bit too punchy certainly on my screen it may not be uh quite that way out with you guys but i am going to back that off a little bit um and i might if i'm not going to do it with brightness i might just use the saturation slider just to pull it back just to mute it a little bit um so it doesn't look quite so punchy um over the top uh tony yeah the the birds aren't as prominent after um otherwise effective edits i agree it's a nice edit um this shot so if i do our sort of before and after obviously this now has the mountain change on there but the rest of the edits i like this water is nice and crisp um you've got a feeling of cool mountain air the edit change that i did on this mountain layer all i did brian is just back away some of those highlight and shadow pulls back away some of the clarity you know we've actually reduced some of the clarity in there as well reduce some of the contrast so even though it's lifted so you know you've got more vibrant blue slightly more punchy um mountain outlines it's flattened enough where the birds still stand out in front of everything now there is a bit of a lean on here i'm going to click here for my guides pull this down here and it does feel like it's leaning away slightly we've got two choices we can either do it with the rotate tool or the keystone in this case i'm just going to try it with rotate and see if we can just level that up a little bit and that just feels a bit more [Music] a bit more even um to the eye and then who was it said david actually just said uh maybe a very acute letterbox crops at the top of the mountains are gone could do uh let's just create a variant so if ever you want to do something experimental and you don't want to think about doing undo undo undo right click on your image go to clone variant you'll get everything that was in that variant and it will be copied across to a new one on our new variant we can do exactly what david's suggesting which is on our crop tool choose if you on extreme leather box let's do one by three um we could even oh actually you wanted to crop the top of the mountains let's have a look you kind of can't really do that with a tree it feels awkward with a tree but maybe we go to there um i think it's possibly a bit too tight um so maybe we just do a one by two because i want to keep this reflection in the reflection is wonderful so i just wonder whether we go in more sort of like there um yeah i i agree with the idea of the letterbox i think it feels a bit more um a bit tighter a bit closer not so sure about leaving quite so much up here i guess the frustration is that tree on the left i do wonder if we did go to a one by three could we get nah not quite if let's have a look at two by one how far can we push it as two by one can we get the triggers that tree actually quite nicely balances that big mountain on the right hand side and i wouldn't wouldn't rule it out wow see i'm um i think i'm on that page to be honest uh your call your your choice um i've got to sort of unstraighten that a little bit now because of the um the tree but um yeah i think that's possibly where i'd be at so to david's point you know in a cute letterbox crop doing it with you know cutting the mountains is probably a bit too extreme but to me that feels a bit more scenic i guess um than this one and it means that the geese become a second thought almost um to what is otherwise you know a really cool scene in his own right okay so brian's um yeah there we go just be careful if you've got something that's standing out in front of something with a lot of detail in it bringing up more detail in the background it's just going to make that um that foreground subject disappear a little bit uh christian um this shot so there's a couple of things on here um we're going to probably go through them quite quickly and just looking at time however um if i do our little quick before and after we can see this has been brought up a lot which is great when we're nice and far back but that's often a butt with this couple things number one this subject here in the foreground is out of focus it's in boca um obviously the focal point was over here and it's actually quite distracting so i get that maybe you couldn't get around it um but to me in the picture this is a problem and a real problem the second is if i look at the noise profile in the final image here is our before obviously it's dull and flat i get it and the temptation is to bring it up and get all that detail in again it's show as much detail as we can but we've also shown a load of noise in the process of doing that this version is possibly better however that noise reduction is massive on here compared to here and as a result we've lost a lot of the detail so remember you cannot have a completely sharp and completely noise reduced high iso image noise reduction is designed to blur sharpening is designed to define if you define something with noise it's going to define the noise if you blur something with noise it's going to blur the detail you end up see-sawing now what i would say is we were obviously zoomed in a lot at that point but you can see here um you know we've lost a lot of the detail through too much noise reduction if i back that away here what we're looking for is a bit of compromise um i doubt there is single pixel noise in this shot that's typically where the sensor is heated up an iso 800 for a 500th of a second that sensor is not going to be too hot um certainly when it's in a storm like this but to me it's kind of a we've got to be careful with this foreground here um i wonder whether if you go more abstract it becomes less prominent in terms of crop i would not push it to this level here there's just too much noise that's been brought out this is probably a reasonable compromise here for 200 but let's bring it back to 100 that that seems okay um be careful as well with noise reduction that structure doesn't double down on it if we push structure too far all you're going to get is that noise back again so be careful with that we can use clarity a bit it's not going to have quite the same effect on noise but again just be careful that you're not overdoing these sliders um but you know it's vivid it's it's great in that sense this um maybe not we just clone that again and with this version i'm just going to go for a slightly different crop let's try that two by one yeah it's just so prominent this plant pot um you know you're at 70 mil i don't know whether you know the problem with storms you know let's be honest no one can predict that exact wave at that particular time um i wouldn't have been able to predict that was going to happen so you know we can sit and stay um or sit and say right now you know we could have done with standing a bit to the right or a bit to the left but i wasn't there you were you were probably very wet it was probably very quickly shot so you got the best out of it at that time but that that plan is a problem to me in this scene this is something that possibly holds it back and i'm not sure what we do to get rid of it other than recreating some background um with something like content aware phil but yeah the storm itself great we could go a bit more extreme let's pick on a david crop we'll call it now um we could go down to maybe there on a three by one make this a bit funkier you know maybe that's enough as an abstract uh maybe we go the other side of it let's just do a two by one and come in to there you know we can play with this in a way that almost ignores the fact that we've got that plant in the foreground that's slightly out of focus um but at this point here you know we're really limited on pixel numbers here um which is a which is a bit of a shame um but yeah just be careful with your noise remember that that seesaw you know reducing noise blurs increasing sharpness introduces noise when you're dealing with high isos you can't have the best or best of both worlds if you want a sharp noise free image you need to really do it in camera and in some situations like this one you don't have that choice you need to be at a high iso in that lighting condition to get that faster frame um although this is the triangle stuff the the stuff that's difficult trying to work out um the best compromise from any one situation but in my head this is too far um certainly when i go in 100 this is probably a reasonable compromise now that we've pulled that back back to here but the plant um the dead plant but look of it um is a bit problematic in that shot so there we go one storm um from christian brian's um geese that we hopefully have made a bit more visible but yeah from a crop point of view there's nothing wrong with this first one kind of like this one a little bit more but that's that's personal preference and georg sorry we used your picture a lot um not just for content aware phil but yeah just know what the limits are don't try and push a tool beyond what it's capable of doing but if you are going to go out to a pixel editor do it last because you lose control of certain elements and if you are going to install the new export tab just remember about your proofing setup and your view menu and don't get confused by having a different profile enabled to what you're trying to see if you're missing any recipes quick recap up here click and hold on the plus button they're all the default ones and obviously you can create your own um on the end okay so there is no editing session next week sorry everyone um so next week uh is a bit of a week off the week after we'll be back in the meantime um we will probably continue chatting away on the facebook stuff uh facebook group so join that group it's open to people to uh to join sign up and there's a couple of things that are happening in a couple of weeks time as well um that are in that group so for those of you that want to get involved then up to you but do join in uh in the meantime you've got access to um little mini snippets so sort of 10 15-minute what we call pro tips that cover some of the tools that are in capture one whether that's you know how to use the before and after tool how to use brushes how to use uh keystone and clarity that's all in there between now and next editing session uh upload your images please uh include your name though if you don't include your name we can't include your image so poryforlive.we live.wetransfer.com send us your image as a raw file or as a eip packaged up uh we'll edit what you believe is the issue i might have a look at some other things as well if i go a bit off script um but please do keep sending them in it's great to see um certainly stuff that's getting better as well which is really cool uh but in the meantime between now and a couple of weeks time stay safe do what you're told by your respective people that are in charge and we'll see you soon cheers everyone bye you

Channel: Paul Reiffer

Views: 4,327

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

Id: 3QHQK-aEbVs

Length: 63min 36sec (3816 seconds)

Published: Wed Oct 06 2021