Live Editing Sessions - Capture One - 7th July 2020

good morning afternoon evening middle of the night wherever you are so welcome to Tuesday's live editing session and so hello where are you all that Norway Spain Amsterdam Germany Bruce is Bruce oh no Jerry is Jerry stone on Arizona sunny warm and spiking in Arizona okay cool so first off let's get me on the screen hello so I'm gonna say hello this session last time we had a little bit of weirdness with the voice of my mouth so either I've got a really really cool ability to speak faster then the sound comes out or there's something a bit weird but we'll have a look at that Bruce is on line good morning Bruce as well so who else we got Jeff's on line from Canada if I didn't know you were in Canada cool okay Switzerland Cape Town some of you over in Asia okay cool let's get going with today's session then so quite a few to get through today reminders for everyone so those of you that haven't been online with this before bear in mind the comments that you put up on the screen take a little while to get through to me I'm gonna take about 15 seconds that's the way that rescreening works unfortunately so bear that in mind I'm not ignoring you if you put a comment through it's just that it takes up off me to see on the screen it might not be the right time to interrupt our editing but we'll try and get through as many of those comments and questions as we can so the version of capture one that we are using today is still version thirteen point one point one if you're a techie coder or version twenty point one point one if you're a marketing lovey obviously capture one changed when they went from version 12 to 20 and they skipped quite a few and the idea is that the versions will stick with the year obviously we're in 2020 right now so make sure you're up to date if you are not up to date where you don't have capture one you're just using this tab a look at what it can do then make sure you download either the upgrade so if you've already got version 20 and you don't have the latest service release make sure you go to capture one come and get it if you don't have version 20 and you want to give a try then do the trial and give 30 days completely free completely open the no watermarking or any silliness like that so you never play don't you ask content and if you already have an older version capturing then obviously there's a discounted rate for upgrading or if you're on the subscription model then you get it free anyway or you get it included in that subscription so we've got low loads of you've joined cool so we've got loads of you in the UK today it's coming weird so it's really hot still in the UK but hopefully tomorrow this big rainstorms gonna fix everything right let's go into capture one so as you can see we're gonna start off with some more Milkyway shots to the point where so many of you sent in Milky Way shots we're going to do a couple more today just to try and get some of the techniques sort of honed in but we're also gonna release this as one of the pro tip sessions on YouTube so don't forget that you can go to the YouTube channel and there's all the preset things on there's one clarity there's one exposures one auntie hazing there will be one on Milky Way editing because it seems to be a very very popular question of how we get the best out of a capture one so let's start with this one from McGill and let's just do a Dan effectively a standard Milky Way edits there is a sort of a recipe to the Milky Way stuff we covered it before and we'll go through it again here and a lot of it comes down to how you interpret the histogram so just like any image we're gonna first off start in our lens Corrections it was shot at 2.8 we get that information down here on the bottom so all of your images you should have the ISO the shutter speed and the aperture down here if for whatever reason you don't just by the way because someone asked me this question the other day if you go to your View menu and under customize viewer you'll see one that says labels if that's not ticked you won't see this information so if that's missing and the same up here for the browser labels so if it's missing just make sure you've gone into customize viewer and make sure you've got labels enabled and you'll see the name of the file as well as all the information about it okay so let's have a little play with all in settings so we've got the lens profile loaded in it sir is one of the popular lenses for Nick on so obviously the profiles in capture one we can do a direct analysing and chromatic aberration on there which will hopefully Shore it up a little bit more it's a it's a pretty wide lens for 14 to 24 so there's probably a lot distortion in there the distortion slider here someone actually asked that the Facebook group the other day why does it sort of go from zero to a hundred and generally people don't use it much in between if you're on an ultra wide lens you get barrel distortion effectively you get the edges start to walk especially for shooting architecture or something with very clear straight lines when you do that and you're using an ultra wide lens without distortion correction those lines will bend at the edges it's very rare to find an ultra wide lens that doesn't have any bend in it or the distortion correction in capture one unless you see the the things moving around the grid as I move the slider the distortion correction will fix that to as straight as it can get now if you're doing a landscape and you don't want to lose anything as of course one of the ways it's doing that by cropping they say essentially if you don't want to lose any information on the sides don't use distortion correction but accept that you're gonna have a little bit of curvature and I guess the end of the lenses once you get above the natural lens for your your sensor so effectively 35 millimeters on the 35 millimeter equivalent or 50 millimeters on a full-frame medium format equivalent once you get to that level typically distortion Corrections not gonna do you many favors it's not really gonna do much so quite often when you load in the lens profile what you'll see is can't you want to set this down at zero for this lens its default was 100 but for a lot of lenses of 0 in which case leave it where it is unless you're noticing some distortion in the shot don't worry about having to use that okay so we've got our shot overall let's have a little quick look and obviously there's the the first thing we want to check is is there any fringing or anything like that in the high contrast points it's difficult on a milky way well because there's high contrast points are unfortunately going to be very very rare to find because it's actually between the star and the foreground that's in shadow I think it's that tenth I think that's a tenth there Miguel I don't know if that's your tenth but it's certainly someone camping up there on this hill with Milky Way it's a cool shot the Milky Way so with no purple fringing to worry about I'm not worried about diffraction or a 2.8 I'm not too worried about sharpeners fall-off because actually is probably yeah we are we're focused infinity it's going to be pretty sharp and actually at the edges on a wide lens over this period of nineteen seconds you're gonna see some movement and the Stars and stuff like that which may look like a bit of a blur if we over sharpen this image we end up with something called bullet holes which is where the light point is the little dark area around it we don't want that so if we're typically doing Milky Way work unless you got a sharpener shoot or start of sharpening tissue around the edge then don't worry about it too much light fall-off obviously if you've got a lens that heavily vignettes the news the light fall-off to effectively ease that out so to get rid of that vignetting and try and flatten up the scene in this case it's actually going to be quite handy to us we've got quite a strong ring out there so we're not gonna do it up completely but we'll probably pull it up to about 40 or 50 somewhere around there just light in those corners just to keep that flat rather than having a vignette to start with I'd rather a vignette that we control not one that's born out of the lens so we could go to our color tab but actually most of what we're going to do in our editing is gonna be in this one which is the exposure tap so this is where we spend most of our time in capture one and there's not actually that much in terms of noise in this one of the cameras done pretty well what is it a d750 yeah so it's a good very good low-light camera so we can see this ISO 3200 our level of noise so I'm gonna go in on fairly at 200% it's still pretty clean of course we could do some noise reduction in this but I wouldn't worry about it too much right now the amounts that have been dialed in automatically are gonna do enough for us okay so in our exposure tab here this is the standard set up on the left hand side obviously you can move tools around and capture one we can grab all of this stuff for those of you who haven't been in it before but for those of you that have you'll probably have your watch or workspace set up a standard way for you for your way of working for me actually the default way in capture one works just fine for me I'll just ignore some other tabs most of the time so let's have a look at the wider image and let's think about what we want to change well first of all there is a huge amount missing in here a huge amount of data missing now is data that's missing to my eyes but not necessarily to the camera especially on the camera that was in use so let's just have a little look at our exposure and pull this up and see what was actually in the picture well that's pretty good we've got a lot of noise in here for sure but noise correction was going to fix some of that we can see it working as we scan around the image but while we brought this up obviously this is way too bright now up here in the Milky Way so we only want to affect the dark areas the image or the shadows or the blacks part of the histogram now when it comes to working out what we want to edit this is where people get a bit confused with milky way shots because the sky is so the way that capsule one actually separates these these things out you've got four different areas in HDR you've got effectively you've got the brightest brightest brightest part of the histogram to the top four or five percent that's our white on our high dynamic range if you look in here that's the white slider here then you've got the darkest darkest parts of the histogram so the bottom four or five percent of the values that come in out of the RGB scale that's consider the black slider in HDR then you've got highlight in shadow now highlights and shadows reflects the top probably about 20 percent 25 percent depends on the image but the top brightness areas of the image for highlights and the bottom darkness areas of the image for the shadows so highlights and shadows is probably the top 20 percent maybe 25 and the bottom 20 25 percent whites and blacks is the top and bottom 4 to 5 percent but whites and blacks are included in those highlights the highlights aren't included in whites and back so if I adjust shadows I'm also adjusting the blacks if I just black on its own I'm not necessarily adjusting all the shadows same with highlights if I adjust the highlights I'm also affecting the white part of the histogram the brightest part if I adjust the highlight also the whites in the in the scales I may not be adjusting all of the highlights of whites doesn't necessarily mean highlights is a subset of it so bearing that in mind this sky here and I can use the histogram you see this orange line that appears on the left of the histogram as I'm moving around so as I go into the dark areas but that's at here in the blacks area of the slider when I go up here this is in the shadows area of the slider so a lot of people will immediately we just try and pull up shadows in a milky way shot because we want to bring up this was what we see is the shadow right the the the foreground here is in shadow but shadows isn't what we want to effect here here this is all in the blacks area so we just need to use that black slider image of an high dynamic range instead of shadow if I pull up shadows yes it pulls up the foreground but it also pulls up the scallion we don't want that it's the night sky so if I just focus on the black slider now I'm pulling up the foreground without affecting the sky in the sky is sat as you can see on that orange line that's moving around on the histogram on on the left at the top the sky is sat very firmly in the shadows but not in the blacks area the blacks alone will bring up those darkest parts of the image a little bit too much so I'm going to pull it down to there also I've got a little bit of a question over where are we Sardinian whites blacks are locked or vary with the histogram so all I don't know the exact maths in terms of what percentages is I've talked to a couple of people actually about this about finding out exactly what percentages I don't know in my experience it tends to be the bottom four to five percent in the top four to five percent so but it's always sorry to answer your question Damian specifically it's not based on the histogram of available data for that image it's based on the histogram of 0 to 255 I think that was what your question was actually so it's not based on if I loaded in a really dark image then the whites aren't gonna be a darker subset of it it's still gonna be only affecting the bits there at the 2000 so I think that's it I hope that makes sense so on here we just pulled up the black slider and that's the only change we've made already it's already a big gift big difference so let's now look at the color balance of the white balance of this shot especially here I know this is green grass for sure but what this isn't is green concrete that doesn't really make sense so the green concrete hmmm that's down to the fact that we've got an issue with our white balance and isn't perfectly normal to have a white balance challenge of the night because the camera's brain basically gets fried based on all these different impacts that they're coming from it you've got streetlights coming into it which are most warm yellow and orange you've got the dark night sky which is typically quite deep blue and and some pink areas and whatever and in here you've got the green of the grass if the camera is able to work that out so we're going to manually change our white balance I'm gonna make it a bit cooler and I'm gonna switch that tint to go away from the green area in the scale so in white balance terms Kelvin goes from cool to warm so in broad terms blue to yellow blue being very cold light and think moonlight so on then you've got in the middle of the day you've got bright daylight which is sort of neutral at 5500 and then you've got warm light and warm light is that sort of sunset sunrise gold and blue and we can adjust that white balance obviously manually as well as taking a reading directly just take your reading directly I'd use this little picker and before we do that let's find an area of the image that should be neutral so it doesn't have to be white or black it just has to have no color so it should be on the grayscale so I'm going to pick on that concrete maybe this one maybe this one don't know and it's made an approximation and guessed at exactly what the white balance should be it's not far off everything I now do with white balance can be my choice my entire testing and interpretation of that scene so to me the white balance is probably about right that sort of yellow to blue error however tint I'm gonna push it a little bit more pink so tint goes from green to pink or green to magenta the reason the tint slider exists is actually nothing to do with digital photography that we do normally without filters so that the problem you have with using glass filters in front of the camera is typically all substances have some form of color cast when you'd put light through them now color cast typically goes from green to magenta so strangely tint as a slider is there to fix color cast issues if anyone's ever bought things likely filters a horrendous or they they had to be Narender so they've got a bit better recently but horrendous for a greeny blue color cast on the the big stopper and so on you'd use the tint slider to pull that away from the green and you neutralize it by pushing it towards the magenta area now this one's probably not been taken with a filter because it was a night at night we want as much we can get in but there's still a bit of a tint adjustment that I want to make just to make sure that it feels a little bit more night tiny but that's purely down to your own interpretation to a lot of people nighttime feels a lot warmer and this up to you but that's what we're doing with white balance were adjusting to make sure that the tones of the neutral parts of the image like here are absolutely neutral and the tones of everything else that's around makes sense so in here we've got some green grass in here I'm actually going to desaturate that a little bit anyway we've got the nice blue night sky and then we've got some street lights over here there is a debate as to whether or not you want to darken those down to me it's part of is the fact that we've got a building sat looking out over what seems to be a city out in the background so let's have a think then about these stars so these stars are quite obviously in the white section of our histogram let's just keep resuming in and we just get up to a nice higher map and I'm gonna use my little pointer to pick up on here it's actually not reading it quite correctly because these are obviously blown out the stars but it's certainly in the highlights area of the the histogram is not in the whites so I'm actually going to use my highlights tool and bring them brighter and the same with whites to bring them brighter so this is only gonna affect things in the top part of the histogram you see this little dot here this little spike that tiny little spike is all of the white elements in that sky so what we've done is we've effectively enhanced their brightness so if they were at sort of 210 then out to 55 I've got some stars of the fully bright and and hitting that top end of our histogram so we're using our high dynamic range tool to bring up the highlights and the whites to make those stars glow a bit stronger and to pull up the black section of the histogram not the shadows the shadows also is the sky the black section to purely pull up this building and this is where we get a little bit a little bit challenging which is we're gonna pull down our shadows which is all night sky now remember shadows also includes black so by every bit that I pulled down the shadow I'm then going to pull up so you see why I'd be doing that I'm pulling down the shadows to darken the sky but the shadows also effects the blanks so I'm then going to pull up the black area of the slider to counter that change in shadows so that my foreground ends up in the same place it was before but what I've done is I've managed to darken the sky it is possible to do this with luma ranges and with gradient masks so I can put a gradient mask across here just turn the mask on scene and see it so by drawing that across we've got a soft fall-off between the area which is a hundred percent of the mass down here fifty percent in the middle and then zero percent impact on the top and I could then go into my luma range and say actually I only want this mask even though it's already a gradient I don't want it to touch any of the sky only these dark areas in the foreground there and let's put a nice soft radius on there okay so we've got that there and it looks pretty good there's a nice mask over the building and of course with that mask then I can pull up our exposure a little bit if I want to but to me the night sky or night sky images typically doing it through the HDR tools tends to give a more natural result you don't tend to end up with any cutout effect or any weirdness where it almost looks like you've plunked on a building into the background using the HDR tools tends to result in a more natural fit okay back to our background layer of course I could do this on a filled layer we'll do that in a second of another one but with our background layer now just a pump clarity a little bit now be careful don't do this too much you see here you get this halo around the top of that building that gives it away to me that you've used too much clarity so we've got to be really careful with this we use a little bit just to bump the contrast in those areas so the mid-tones let's just push them and to have a bit more contrast in them overall I'm going to increase our contrast and I'm going to also bring up a little bit of structure be careful with structure in high ISO images because that structure slider is going to sharpen text your in detail but it's also gonna sharpen noise and it's gonna make that more apparent to be very careful with that so David's just said is there ever a case for using different tint Corrections in parts of literature absolutely I'm sorry one that we did a couple of weeks ago I think actually if you'd have a look when was it the day off so the the 18th of May or the 22nd of May we've got one of these sessions where we actually talk through with David Grover the launch of capture 120 point 1 and the update that happened and in one of those images we have to use two different white balances for the sky and the ground including the tint because it made sense for that picture so absolutely you can choose and let's let's really go for it in this one so I'm gonna create a new empty layer let's create a nice layer over the sky like that and I'm gonna create let's just call that one sky don't worry Miguel we're not gonna complete the treasure image we can delete these afterwards we'll call this one foreground and on this one I'm gonna draw another layer there so my foreground layer I could really warm this up like that and on my sky layer I could really cool it down by back if I wanted to now it's thought you start to end up in this sort of weird place when it comes to whether it's real or not so be really careful with what you do with that but yes absolutely you can have two completely different tints and white balances on two different layers and as long as they interact naturally there's no problem with doing that but be careful it does look natural don't turn it overcook it okay so we've done our clarity we've done a structure adjustment we could play a little bit with levels and curves if we wanted to so if we wanted to keep the shadows where they were but maybe we want to pull up some of these mid-tones and highlights and then actually that's really push up the brightest parts and keep those where they are the problem with doing this with night shots as you can see is you end up with a quite almost a flattened version of it so a slightly less contrasty version of it but it can do the trick if you've got a really tricky area with some bright areas in the city in the background getting do what you like okay so but to me that's probably as natural as we're going to get from this shot and if you look at the detail that we've got out of this image so let's go into so do that just for those of you that some of you asked that question actually how we do that um so if I'm on my zoom tool which is ed on the keyboard and obviously I can zoom in and out with the option key or Alt key and I can even draw my keys and I can go to that area however if I'm on the hand tool I can double click anywhere in the image and then move it around and at any point in the image so even if I'm on the crop tool for example if I hold down the spacebar on my keyboard I go back to the hand tool to move things around so typically I tend to use the hand tool just to it's a nice quick way of moving around the image but if we look at this picture here now that it's gone and all the corrections on it let's have a look out from before and after so there's our before and there's our after it's quite a big difference it's still using all the data that was there in the camera so we haven't added anything really we haven't changed anything we haven't manipulated the mouse sky or anything like that so that's really important to keep it natural especially I have to say this with star images there is nothing more satisfying to someone who's pixel peeping than pointing out that your galaxy is wrong for where you were at the time of year you say you were and I've seen it on forums so many times where someone has lifted up a galaxy from another shot and put it on there and then claimed it was an original photo the Astro guys know what they're doing they're gonna see that thing a mile off so keep it real keep it natural but by all means make the feel of the photo more like where you were and from there to falter thereafter from my perspective I think that's another big improvement what we could do as well if we wanted to I could put another adjustment on Aaron oops not over the top of that one to create a new one and with that adjustment layer let's put up our contrast and also a little bit of exposure as well so you see what I've done there effectively we've made the stars pop even more for turn that off and on so this is effectively an overlay layer that we can do at the very end to control the amount of contrast that you want so the girls you start on this one is it possible to correct the light pollution with the color editor it's very hard yeah so we talked about that earlier we've done it in previous ones let's just have a little quick look here so I'm gonna create a new layer going to call this one light oops pollution and with this letter I'm gonna use the brush tool so brushes next to the gradient tool in that panel I'm gonna make sure it's a really soft brush quite a low of pasady different ways of working some musical passages that move slow not get into that debate and turn the mask on by pressing M on the keyboard so I can see what I'm doing and we're just gonna paint very carefully over the light pollution area I'm just gonna build up and make sure we're nearly a hundred percent where the base is and then softly softly spread out so it falls off it's not gonna matter too much because we're going to use the color editor to do this so now I've got a mask with only this area here now I'm gonna go into the color editor and with that mask set I'm gonna go to advanced so not the standard color editor because it is quite a few colors that we want to affect and advance gives us a massive bonus for doing this if I use this little dropper and drop it here this shows me the cone that we're gonna affect here now I can increase out here its saturation effectively and I can increase its hue that we're affecting so now we're affecting not just the bit that I clicked but everything to the left and right at it in this color wheel so all the way around to the yellows here and with that I can change saturation number one well that's gonna look great that looks a bit odd let's also include some of this pink here as well okay I can change our lightness don't overdo that either but more importantly I can change the hue so I can go more to a green or more to like in this case a less yellow basically we're pushing it towards the Reds and the Pink's area as we use that negative value in hue so we can do that a little bit we can put down our saturation a little bit we can increase the smoothness of color Cho transition in there and we can pull down our lightness a little bit again it's all little little little so with that on there let's just turn that off you see how yellow that is and then on here if I wanted to go even further we could have cause to a luma range on that as well in fact let's do a different layer I'm going to call this one luma range so on here I'm going to copy the masks the same mask from light pollution so that says be drawing in again so it'll luma range layer with masks already pre-made and if I go to my luma range here I want to affect not the really dark areas only this light pollution area here big radius big fall off because I want to make sure that it doesn't look too unnatural when we make the change okay and it's about good turn my mask off and with the luma range selected of course in my exposure tab I can then go down and pull our exposure down pull up contrast down pull off saturation up a little bit let me pull down exposure typically the the colors tend to desaturate that doesn't look very nice looks a bit murky and we could also if we wanted to change the white balance in this area so again there's nothing stopping us doing on a drawn there as well as a gradient layer no problem but that's effectively there where you'd get to by reducing that noise pollution around the the back of this building or castle whatever or house or whatever it is the problem that you have and this is a personal thing then I'd prefer it with it simply because of one reason the background of this light pollution actually gives me a nice background to this house all the ruins once I get rid of that light it's sort of lost a little bit the ruins are lost it's actually a really nice almost like a rim light on earth on the back of someone's head in the studio it's a nice way of separating that foreground to background so yes I would pull down the the warmth of the light pollution by using the color editor that's what that layer does you can pull down the brightness of that area as well with a luma range but I wouldn't I'd be really careful with this one on me but now it is okay so very quickly then let's do the same thing so this is a shot from Winnie on the other end so remember everything before was owned or underexposed didn't miguel's in Winnie's we're and we're slightly overexposed if anything and we can just do the same thing but actually we're going to do it a slightly different way with this shot which is we're gonna use our levels and I'm gonna pull in my levels here and here so what I'm doing effectively is stretching our history on using the histogram moving along the top and we're stretching that just to make it compress a little bit effectively making the brights brighter and the dark darker just to get a bit more separation where this is quite a highly illuminated frame of course we can use a loom arrange as well so let's create a new I guess we'll go fill glare so in other words we're starting off from everything filled and let's go to luma range and I'm gonna select only the dark particular display mask so I can see it I don't want any of the light areas that just want these dark shadows my soft fall-off really wide radius so we didn't get any hard lines on it and with that luma range selected let's then actually I'm gonna pull down the contrast a little bit down the saturation a touch as well and a little bit of brightness now I'm using brightness instead of exposure and there's a reason again we've got a pro tip thing on this whitney's online Ione so there's a reason that we do this with brightness and not exposure if I use exposure as a slider I literally slide the entire histogram to the left or to the right if I use brightness I squash the histogram to the left or to the right so if I push it to the left so in other words towards the shadows with brightness I don't actually push too many of the shadows off the end I keep the shadows where they are but I squash down anything that's in the mid-tones same with going the other way if I use an exposure I can push things over the edge of highlight so it becomes overexposed if I use the brightness slider it can then push it more towards the highlights but not actually push it over the edge so in this case I don't want to push any of the shadows off the edge of it when I lose them but I do want to make some more separation in terms of this image here and then between the foreground and that sky so in this case I'm just gonna pull brightness down a touch again so we're not losing any shadow information but we are pulling down those mid-tones more into the dark area in the histogram then we've got up here with our sky so this is a good one actually where the whole image is generally pretty much to much to the green to much the yellow end of the history of sort of the white balance so a really easy one to do just to pull that down a white balance there and pull this back up a little bit to neutral just so it feels a bit more again like a night sky now there are different modes and different ideas of what a night sky looks like to me or life night sky looks like it's different to the next person some people think it looks more green more yellow pink or blue some people want it to be completely dark with only the stars showing some people love the fact that you got all this illumination from the stars this is personal preference you have to accommodate it within your shot there isn't necessarily a clear recipe that does it for everyone okay so on this one let's pull in another gradient layer and whoops careful so you see when I pulled in a gradient layer it automatically went to the Lupron inch layer by axed I need to create an empty layer first and now draw my next gradient so my gradient here I'm gonna use that gradient so as to look at the mask so it cuts off Here I am actually gonna go back in to luma range and I'm gonna try and avoid some of these really dark shadow areas like that so only the red parts are now affected okay and then with that done I can then pull up my contrast pulled down my exposure a little bit and actually what we can do is pull down our shadows so again remember we've got these HDR sliders blacks isn't gonna do much on here because actually most of the skies I move our mouse around look at that orange bar up there on the histogram it's not in the darkest darkest parts of this image down here is you can see that orange bar moving around there but blacks therefore isn't gonna have much of an effect but shadows will so shadows bring down highlights bring up white spring up is gonna give us a bit more contrast in that again I could even push contrast even more if I wanted to then overall I can pull the exposure down the sky remember all of these sliders are only having an effect on this gradient with that luma range and the luma range is only affecting this sort of top two-thirds of the histogram anything down here in the shadows is having no effect on whatsoever that's the whole point of a luma range and a gradient mask so with that done I'm sort of in a place to look at before and after okay that to me sort of works as a night shot again it depends on your interpretation of it so let's go back to our background if anything in here in fact the lower luma range what I'm actually going to do is pull up our exposure a touch and get rid of some of this blue so I'm gonna pull down the saturation a little bit just to make it a little more rock like just tweak the contrast a bit there yeah okay so again it's down to interpretation but there's all before looked a bit murky in green and a little bit flat even though it's so bright and then here is our after which feels just a bit more like a night scene necessarily than the previous one and the same with Miguel if we go to our before shop we've lost what we think we've lost all our data now Allen is all there I was just a really cool night scene when it's finished Pablo Roth's just said I'm off so Pablo said it's a good idea to increase exposure a bit prior to lowering the brightness to preserve more shadows and mmm good question you can tweak it a little bit to be honest what you're then doing it yeah I guess you're sort of nudging a little bit I guess so you're sort of sliding the whole thing along here and then pushing down the rest in theory yes it would have an effect of protecting the shadows but just be careful that by doing that initial slide you haven't pushed any highlights off the edge in that exposure one so remember that slide of exposure if you've got anything up here in the top highlights maybe around the stars or whatever well then start don't really matter as to Headroom to vibe or not but it's just be careful that you haven't pushed anything off the edge before you then try and pull brightness down because brightens may not be able to recover all of that back into the histogram okay 34 minutes without drink that's not bad okay let's go on to where are we on Eric nice short like this one so again lens Corrections loaded in the lens profile great we might have some diffraction but actually on this lens at 24 it's a pretty it's a pretty good lens so I'm not worried about it too much it's gonna be sharp all the way through I would just do that analyzed on chromatic aberration just because it's habit more than anything that it's gonna give a better result than the standard manufacturer profile and there's aa beach scene really nice so let's see what we can do with this scene so first off again remember that the HDR tools are effectively playing with exposure but they're only playing with certain parts of the histogram with exposure so the way to see what the HDR is capable of doing is to use the exposure slider it's a quick way of doing it so to see what we can recover in those highlights let's pull our exposure down it's a huge amount of data in there that's pretty good and let's have a look at our shadows in fact there aren't really many shadows but maybe in these darker areas here well we've got loads of data in there but you can use the exposure slider to see the results that you'll get out of using HDR just quickly Carl that's just awesome we go Miguel wherever you are where did you take the shot is it the real-time text tram Montana Mountains by any chance so the Gallup need to answer open it up on screen and so let's have a look at then knowing what we can do with the exposure in here let's pull down our highlights remember the highlights also includes those whites so if I wanted to pull down the whites it's only going to affect those real bright bright bright parts in here in the Sun which is great but actually while I'm at it I may as well pull down all of the highlights in here because I want to get some of the color back around here that was slightly blown let's also pull down the whites in this case even more so we've got a lot more detail now in that Sun up here and these rays which are really cool and a couple of little dust spots there we need to have a look at we can do that either with the dust pot tool so up here under the Healing Brush healing mask you'll find in here we've got a remove spot we can do it with the healing ask of course but you've also got the delegating dust mop tools if I just click a little circle there it'll get rid of it the dust mop tool healing mask is up here too and that will do it just with a slightly more refined way of delivering the result okay so just a couple of questions up here so Ralph how to deal with the conflict of the cold sky on the warm city lights when shooting a cityscape during blue hour or at night the camera will get confused yes it will last was it last week well genuinely have a look at the one last week I think it was last week the week before I will send you a link to which one it was we covered this because cities absolutely they confuse a camera you've got yellow streetlights you've got white LEDs you've got blue neon times you've got pink lights you've got street lights reflecting you've got car headlights and so on the camera doesn't know what to assume first once they're getting better but they're not quite right so effectively what you've got to do is manually control it and typically I've found that the shots of the city tend to come out warmer on camera than they are in reality so just be aware of that and maybe try and cool it down first to see if you get the right feel for the city but remember as you pulled down the Kelvin sometimes you end up with a slight green tint and the reason you're getting now is because you now need to adjust the tint back up to the magenta area at the same time you sort of used the to do offset but yes it is City can be a problem because of the different sources of light so this one number so number one we do the lens correction number two we've worked out what we can do so what we can achieve with it before we even start with it number three let's just fix the straightening of the horizons of the horizons not quite level in here so using that straightening tool up here those circle or circle around the plus sign we draw one side of the horizon to the other side let go and capture one's gonna straighten that up now that works for rotation if it's not rotation if you've actually got a keystone effect we use a different tool but for this case then straightening tools the right one someone's just said Las Vegas yeah Las Vegas editing session covers extensively yeah we've done quite a few about city scape stuff but I'll send you a link to them Ralph there's quite a few that cover it pretty well okay so we've got our we've got our horizon nice and straight from a crop one of you are kind of like this is it sort of works was a nice tool image we've got a little bit of stuff on here on the left now we've got to decide do we want to just crop that out or do we want to heal it well in this case I don't want to lose any more information on the side because this is nice this is kind of central up here on the top third so rather than cropping the image we're gonna use the Healing Brush so click on the Healing Brush up here whoa that's a bit big so we make our brush a little bit smaller so right-click anywhere on the screen when you've got a brush selected you get the brush settings up you can also use these square arrows or square brackets so right square bracket makes it bigger less square bracket makes it smaller but that's effectively using this slider here on a Healing Brush you want to go to a hundred percent most of the time there are some times where you wouldn't want it under percent but typically you're healing something if you want to get rid of it doesn't make sense to get rid of 80% and in this case on the new Healing Brush I'm just gonna click on what I want to get rid of you can see there on the left hand side just there above where my brush is it's added the heal there one that's because I didn't have a healing layer already put into this image so it's decided to create one for me which is great and it's gonna decide where to pull that layer from now in this case I don't agree with capture one I think it should come from probably this area here and blend it in which is much better but capture one will try and work out the best place to take it from and we've seen some real amazing examples recently of people using it and that me a really good result ok so that's that gone nice and clean we've got a nice straight horizon we've corrected for our highlights of the Rin here I don't really want to mess with this too much other than just bringing the viewers contour the viewers viewpoint onto the key parts of the image one being this Sun here and two being this bit of weed I guess we might want to play with this leading out to see so let's deal with the c1 first I'm gonna create a new layer and we're gonna call it leading line you can guess what we're gonna do here so selected a brush on my new left and I'm gonna make the size a little bit bigger my opacity quite lows are going to add a few strokes over it and we're just gonna draw in here I'll turn the mask with the M key so you can all see so I'm drawing over this path quite a few times really want that nice and strong and then I'm gonna blend it out slowly as we get out to these ways I don't want it to stop abruptly and likewise into here you're gonna see this is blended quite neatly by the time we're finished so every single time I add a new brush stroke it's adding 18 it's not quite 18% is it's a percentage of a beta that's there there's a there's a calculation that we did on one of the YouTube videos that you can try and do if you want to really screw head up with maths so we've got that there if I hold down the Alt key and or the option key and press M I get a grayscale mask so I can see more accurately the layers I've built up make sure that it's feeling right okay that's pretty good you then let's go on to our panel on here on the left and we're gonna pull up clarity so look at the difference that's gonna make this a hundred percent that's the zero so we wash it out at zero we make it more clear and make more contrast in the areas in clarity if we put up to one hundred to me we're probably gonna go to about fifty and all that's doing is it's just giving us a little bit of a bump onto this particular path sort of leads out to see then I'm gonna create a new layer I'm gonna call this one sky so the rename a layer just double click on it and type in whatever you want and I was even imagine we're gonna use the gradient layer of the sky now this is all freeform at the moment but hold down the shift key forces capture one to go into 45 degree increments which give me a lot more control okay from there let's pull down our exposure a little bit just to darken that very very top part of the sky down bring the viewer back down into that sunset and I'm also gonna offset the tint a little bit just dock to there just to give it a bit more paint a little bit more color into it rather than the greeny blue that was there under the clouds in the shadows then we're gonna do the similar sort of thing down here so a new layer I'm gonna call this one ball ground and this one I'm going to create a radial less it was still a graduated layer it's still a one that falls off from light to dark but instead of being a layer that's on a basis of a linear gradient it's on the basis of a radial gradient so we're gonna go to my foreground layer and drew a radial gradient around here I could do this with vignetting the problem of vignetting is in capture one the vignette is fixed in the middle of the crop so you can add it adjust with the crop but it's elliptical around the center of the image this is obviously off centered so I don't want to do that if I bring this circle in the middle in it makes this transition really soft from 100% down to zero let's pull that down to there okay so turn my mask off so I can see what we're doing and then with the rest of that I'm gonna pull down probably brightness rather than exposure and just to about there down a little bit as well okay that would be it for me I might want to tweak potentially the background just to be a bit more tools than the gender in the tin but again if I get it before and after to be honest it's a really nice shot to start with all we've done is we've just shortened up a little bit made it a bit more punchy a bit more contrasty just to give it a bit more punch now if we look at this histogram you've still got not a lot in those full deep shadows not a lot in the big highlights we could do one final little little pop with the curve I'd do it in the luma area on this people we've got some very different colors if I go to the RGB is he's in very strange variants in there of what I mean with the red green and blue channels if we do that together it's gonna be a bit weird so we do it based on brightness which is effectively as a luma curve and I'm gonna make the brighter areas brighter in the darker areas darker but without pushing anything on this top part the 255 area off the edge so we're not stretching this top part here of the curve we're only cooling down our shadows here and up the sort of mid to highlights or the mid tones the highlights here with that SOT a little S curve now what you'll have is the effect with aluminum mask of effectively desaturating in a little bit if we done with RGB you'd actually end up with potentially more saturation to my mind it's easier controlling it with the luma curve and then just bring some of our saturation back so that's then down now gonna feel more dramatic as a shot so effectively we've popped the contrast a lot more and we've ended up with a more dramatic shot and again this is then down to how you interpret it if you wanted to feel more light and fluffy and airy then don't add contrast contrast whether it's done through curves or whether it's in through the contrast tool you're gonna end up with a deeper stronger more punchy image but to me that kind of works if anything in here I could pull up our brightness of touch there that to me feels like a really nice print there's nothing wrong with the one to start with in the first place but that's sort of where we get to okay who's the questions where are we so I cropped an image then tried to use the healing brush to fix something and the healing brush took a sample from house so in the cropped area yes we couldn't see the source yeah it can do that so what you have to do effectively is undo at the moment I think undo the crop will go back into your prop tools you can see the areas outside and pull it back in I'm pretty sure it's something that would be looked and fix but yeah and I'm aware of it what I would say is a general rule because of that because of the risk of that right now is maybe do your healing first so if you've got obvious heals to do then maybe do them first and then do the crop a little bit later just for now I'm sure it's something that from usability point of view we'll we'll get to a bit better but arose does the layer order matter in capture one if you have a healing layer below adjustments or above no it doesn't differ so from from a healing layers point of view it's going to take the source and then bring it into the destination regardless and then it's going to apply other layers on top so effectively if for instance you had a crazy white balance on one side and the crazy white balance on the other side and you did a heal across will the heal is irrelevant to that white balance it's gonna do the heel and then it's going to apply those white balances over the top or it'll do the white balances first and then do the heal but the heal is still gonna accommodate for the white balance that you've got in the in the destination area regardless of the source okay David since I couldn't grab the source to reposition out oh sorry sake that yes I had to start over I don't know if there's a way of stopping it right now David but I'm sure it's it's on the list but genuinely go to support go capture one comm log it in get it get your voice heard as well as everyone else's on any of these sort of things and and get it going so okay cool so that's your picture cool right oh whoa so I know I know where this is this is gnawed through bug or something lighthouse it's in Denmark in Aalborg it's so very famous white house because it was eroding into the sea basically the the sand is eroding away all the time and soon pretty soon it will be there or they go I think they're gonna move it or something they're actually gonna pick the thing up a movie and lab anyway very cool picture apart from the hive is obviously captured the mood quite accurately in that you seem to be in some sort of sandstorm which ER having been there and I know it's not particularly comfortable when you are again 15 millimetres there's probably not much distortion to capture once said you know leave it at zero that's fine that's correct for this lens do are chromatic aberration on their F 5.6 we're not going to worry too much about diffraction so I'm gonna leave the lens profile there once we've done that and now let's look at our histogram on this so the reason that we don't have a huge amount of contrast in here is because all of our histogram is bunched it's gone here's the histogram from 0 to 255 and it's bunched it all up in there so what we can do is we can stretch it we can stretch the histogram out and it depends on what you want this to feel if you want it to feel like we're lost in a sandstorm then the last thing we want to add is more contrast but if you want to see some of the details and maybe want to pull that out so first things first before we do anything around white balance let's see what detail we can get ah so it has there you go correction it has been moved yeah there's a lot of this yeah I agree so same with mist saying that fog same with Samsung whatever you can get this in your shooting Dubai for example during one of their storms you can get this you get it in a couple of seconds ago we did one with a tree and some mist and so on it's all about clarity its clarity clarity clarity and unfortunately bear in mind there is a limit if the camera didn't see the detail then you can't just magic up the detail but if it did we can probably bring it back so and again this comes down to if you want to if you like the picture like this then leave it as it is if that reflects the right mood then leave it as it is but we can probably tweak you to make it a little clearer a little more comfortable to see first thing to try is clarity well yep that boosts it so there's a lighthouse back a little bit clearer but I think we can probably do a bit better than that so again if we go to our levels so remember the levels is a way of stretching out that histogram so these are my inputs or input levels down here and my outputs along here so effectively if I drag this along I'm telling capture 1 instead of making 0 black make 0 black and in fact I want you to make 64 which is maybe dark gray black so I'm stretching it from dark gray up to black so in other words my histogram has become not this full distance here from 0 to 255 but there's mini distance from 64 to 255 and treat 64 as if it was zero and treat 2:55 as if it was 255 well of course I can go tighter than that so I can say actually let's not do it as 255 I want the brightest parts of the image to be at two to seven and I want the darkest parts of the image to be all the way up here at one hundred and thirty because there was no data for all of this histogram now regardless of what the output is your levels histogram will always retain its original setting so you can always seen where the histogram originally sound but what we can now see is by doing that we stretch that entire histogram to cover the whole range from zero all the way up to 255 and everything in between everything just becomes clearer because we've taken the data that was in this small subsection of the histogram and we've stretched it right the way out so then we've got some decisions to make because do I really want this sound being quite that dark and deep and and contrasty maybe not so let's maybe pull that back a little bit there but maybe we pull the mid-tones in to there so I can see the lighthouse a bit better that would work of course we can play with our curves let's just reset that curve there so I can change our RGB curve now if you look at these these curves or these assists around representations of the red green and blue channel you see there's a huge difference in red green and blue in this picture we can also see it there so we've got areas of the picture where there's only blue where there's only Grima there's only red in terms of their values and brightness from 0 to 255 so instead of doing it on the RGB Channel we need to do this on luma so it affects affecting with the brightness evenly rather than based on where the colors lie and with our loom arranged or luma Channel sorry we're going to just pull that up and pull that one down so again we're adding more contrast anytime you see an S curve in a curve we're darkening the shadows and we're brightening the highlights were adding contrast effectively and then with all that done then let's use clarity and that's going to make the lighthouse now stand out a lot clearer than they did before we could use structure and now what structure remember is going to do is going to play with some of the sand elements of this and the texture in this brickwork let me do it to a maximum so you can see they're way too MUC don't ever do structure to that level but you can see what it's doing is it's attaching to all the texture and all the detail or the the rough stuff in the image and it's probably get out to be a bit clearer so let's pull it down to you know somewhere between 20 and 30 no more than that okay so then you've got a scenario notice we haven't had any layers on this because there's really no point to my mind if I had a gradient layer down here I'm going to lose some of the lighthouse and like radius well we actually have a bit of vignetting on here so what I'm gonna do is go back to my lens tab and go to this light fall-off slider and the light fall-off will correct for the vignetting in the lens so this is where we don't want a vignette so either a wide lens or it was using a filter or something like that we have a spot of some sort there nice little spot as we need to fix that one we can do that with our Healing Brush tool so up here on the top a little heel brush again tools a little bit big for this image let's make it smaller make sure on your Healing Brush you're at 100% opacity and we're just gonna in fact I can do it manually so I can say I want you to take the source point from there so I've held down the option key or the Alt key clicked on the source point click on the destination point and they've done it pretty well pretty nicely there's pretty good ok that may be where we have to leave it because now anything I do even let's imagine I did put a gradient up here it's just not gonna work so if I pull this down here and what are we gonna do we're gonna change the white balance well no because that's just gonna look weird we're gonna change the tint well again no that's gonna look weird as well if anything we just have to leave it where it was with that that atmosphere in the atmosphere is right in this picture it feels right but let's just have a look at before and after so whereas before now you can see how little detail there was so before we're into a pretty rough stay is very difficult to see any detail in there in the lighthouse and then after there it is there's not much we can do with that sky the sky is flat the sky is pretty much blown out and it's lost in the fog it's a foggy day whether it's false and doesn't make any difference you're gonna lose the detail but look at how much detail there really was in that picture compared to what we originally had the roar of the camera and that's what we're talking about here in capture one it's how to get the best out of your picture out of the data that your camera recorded without ruining the picture this still feels natural it still feels like you're there in the fog or in the sound or whatever and is it still feels murky but it doesn't feel lost like that one now ironically we might take a picture one week in one of these sessions and make it feel more like the other one we use negative clarity to do that as well as reducing some contrast but in this case it's probably the best bet okay for the sake of today fact this very quickly we've got a couple minutes so it's going to be some actually quite a quick one anyway so this is Frank shot I think that's part of your new tourists are paying I think so let's just make sure we got a lens profile in which we do show you how quickly we can do this now I'm gonna draw a very quick gradient over our sky and our Mountain down here and just hold that ready because I'm gonna go back to my background layer I'm gonna pull up some clarity in here and a certainly pull up some contrast and I'm actually gonna pull down our shadows because I want this mountain here and this rock here to become more defined then going back to my sky layer my gradient that I drew earlier I'm gonna pull the party up I'm gonna pull our highlights down a little bit and pull our whites down a little bit pull our contrasts up and I'm also gonna use a little curve adjustment here just to make that mountain really pop like that so that's great wouldn't it let's have a look at before and after so again we go from this a little bit murky through to this which is a bit more bit more impressive now we could go even further in that sky if I actually add a new layer on top and say sky details and I'm gonna draw a new gradient just over this part here so this over here so it's on top off remember the existing gradient I have here but with this gradient just in the top part of the sky I'm going to pull the highlights and the whites down a long way more than we have before now bear in mind we've got a little Dust Bowl up here so we want to fix that too could do with a healing tool but just for quickness we're gonna do it with the dust bottle and that one there there's one there not that bird the bird is pretty important so you've just seen how quickly we can get clarity back in the picture literally what five six clicks with a couple of layers and we go from there nothing wrong with it that's the move that was there but here which is a lot more impressive as a mountain range and it's with a couple of quick clicks so just bear in mind if you see a picture which is lacking in contrast like this one or like this one was originally it's real real quick to fix some of this stuff and capture one you just need to play with that high dynamic range with the clarity tool and then boost contrast whether that's through levels or the contrast to all curves doesn't make much of a difference but there we go right Deepak you were asking can the brush default 110th floor audacity for healing clone not quite has been a couple of discussions about this because there's different ways of working with it at the moment in capture one you've got this tool here called link all brushes I have it enabled which means if I go to my brush tool and change opacity to 46 because I've got a link called brushes tool set or certainly a brushes option set when I go to my heal tool it also has its air 46 if I unclick this link all brushes and let's say I set my heal to a hundred percent when I go back to my brush tool you'll see that still at forty six it's independent so 32 or whatever if I go to my clone tool that will be set at let's say 70 one go to my heal tool that's still set at 100 go to my normal brush tool that's still set at 32 so I can have them all independent no problem or I can link them all at the moment at the moment there is no way of having the healing clone brushes linked but at one level and the other brushes link to another okay so that's probably us for today and just a couple of reminders so upcoming our next editing session you've got on the 13th of July so that's next Monday we will get to some of the other pictures I didn't get to today but also please keep sending them in we'll try and get to as many as we can for those of you that didn't see if you want to learn about something called frame averaging jewelle exposure plus or see me play with some of my pictures for once then have a look at the replay on YouTube from the session with teamwork and phase one that we did last Thursday that's available on the channel don't forget that you've got access to all of those proteins which are free which will cover things like clarity and so on as well in those sessions don't forget to join that Facebook group which will allow you to have a chat about this this is also where this video will store on Facebook after this session send us stuff through on that upload tool and that's about it and I see exactly four o'clock which means I did it in exactly one hour well done me cool thanks everyone for joining and we will see you next week Cheers spike you

Channel: Paul Reiffer

Views: 4,411

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, Punch, Natural, Neutral, Histogram, Processing, Gradient, Support, New, 20.1, Features, Layer, White Balance, Q&A, Auto, Profile, Lens, Luma Range, Sharpening, Structure, Layers, Contrast, Milky Way, Night Sky, Astro, Stars, Edit, Mountains, Seascape

Id: H4tMWwW88O8

Length: 62min 1sec (3721 seconds)

Published: Tue Jul 07 2020