Optimizing your landscape photography with DxO PhotoLab 5

[Music] [Music] [Music] [Music] [Music] [Music] good morning good evening good afternoon everyone uh i am julian i am your host for the day so live of today i'm very happy to see you again for a new new live station organized by day so first of all i wanted to apologize to all of you because we were supposed to have this live session three hours ago but to tell the truth my computers went completely crazy it nearly burned next to me so i had to turn up the life and now we are back everything is working much better and i think everything will run very smoothly so uh we haven't seen each other for quite a long time now and uh so we wanted to uh start again this live session with you and to propose you um a new kind of life so tonight we're gonna for today or this morning it depends where you are on this planet we're gonna talk about the exo photo live five and uh for this occasion i have a pleasure to welcome mr foto joseph most of you and i'm sure you know him very well uh because he's making great webinars for dake so he's been doing this uh amazing video for us for quite a long time now and uh i'm gonna let him joining me and he's gonna tell you who he is what he's doing much better that i can do hello joseph good morning or i suppose good evening for you how you doing i'm doing very well and it's evening uh for in paris the night is uh coming right now so when i will leave the office it will be night time but uh and i think for you it's at the beginning of the day absolutely so are we ready to get into this should we just jump right in yes definitely so the topics of the day uh it's talking about landscape photography and how to get better pictures so maybe we will give you some little tips at the end of this uh live uh about uh what you should start with when you go on a trip and you want to make some landscape photography which is very important what lens what material you you should put in your bag but now we're going to mainly focus on uh some of the uh key features of the exhaust lap 5 that we released nearly three weeks a month ago now and i think you're gonna share your screen and explain us how to get better pictures with all these new features that we have so guys enjoy it you have the best person in front of you to explain take so for five i'm gonna be next to you joseph i mean next to you but very far from you in the same time but i will take care of all the questions that we have and uh i will maybe interrupt you during your explanation just to make sure that we answer all the questions enjoy it and it's your turn all right thank you and yes to everybody who's watching live thank you for joining us if you do have questions while i'm going just drop them into the chat um either julian will ask answer them for you in text or if it's something that needs to be addressed directly he'll just interrupt me and we'll try and get those questions answered for you so today we're focusing on landscape photography needless to say everything that i show you can apply to any type of photo but we're going to be using some landscape photos we're going to start with some very basic corrections sewing some of the original tools inside of photo lab because of course when it comes to editing your photos it's never all just about the new tools it's all about all the tools that we have so we're going to be taking a pretty high level approach to begin with and then get a little bit more granular in the photo adjustment i have three different photos to work with um we'll see if we can actually get to all of them in time here but i've got a lot of really fun stuff to show you for the first photo specifically so let's just go ahead and jump into that um if you want to put my screen up there julian we'll we'll get this thing started definitely there you go all righty here is the photo that i'm going to start with this is a raw photo of course shot on a panasonic s1r so that's the high resolution full frame camera you can see the lens information here this is the 24 to 105 millimeter zoom lens and of course it's a raw photo and this was probably shot all the way out at 24 millimeter i'm gonna guess you can see here what i'm trying to achieve with this photo a beautiful early morning we got the cows kind of silhouetted on here great end of a sunrise it wasn't out quite early enough to get a really pretty sunrise but you know sun's just coming up over the horizon here and this cool little river in the front that's getting a nice reflection from the sky so altogether some pretty good elements in here for a pretty nice photo since i'm pointing straight into the sun we are obviously gonna have some limitations on recovery you know i'm not gonna be able to recover his highlights from right into the middle of the sun we know that going into it but it's meant to be this kind of high key slightly washed out straight into the sun photo so the first thing i want to look at is what photolab has done to this already because remember when you first start in photo lab you are applying what is effectively if i go into the presets a dxo standard preset this is where your photos by default start if i went to no correction we would see what the image looked like more straight out of camera but photolab does apply a variety of corrections automatically to it and if i hit the reset button it's going to bring us back to that starting point so we're seeing the work that it's done and you can already see a little bit of distortion correction there which is where i want to start so i have a few of my adjustments here that i've favorited so i can get to them quickly just incidentally to do that if you click on a little star next to any one of these that makes it a favorite and then when i click on this star button here it filters to just show me my favorites and the nice thing you'll see here too is when you do that every one of these is opened if i turn that back off most of these are closed i guess all of them are closed right now oh no there's one that's open but they might be open might be closed depending on where i was before however when i go into one of the filtering modes they all open up for me making it really easy to find what i'm looking for so i'm going to start with this right here the distortion the correction is currently set to based on dxo module and the intensity is all the way up and if i grab this slider and i drag it down you'll see the lens correction that the module has done and it's pretty pronounced you know at this point if i drag it down here we just started here you probably wouldn't look at this photo and think oh that looks distorted i mean it looks fine right and part of that is because i kept the horizon line very much centered and even if the camera had been at a bit of an angle we would definitely see that distortion more but since it's pretty much level in here we're not really seeing much distortion but if we correct it then it kind of looks a little bit better but sometimes it doesn't matter right if i look at this photo and if i'm happy with the way it is here then i actually might want to work this way because look at the edges here i get i have more cows there's more of the photo in here then when i correct it we actually end up losing a little bit but before i really make a decision on there i do want to make sure that my horizon is truly even that's important to me so i'm going to grab the horizon tool and you get this line that pops up and now i can very easily take this and stretch it out really wide and make sure that i truly have a straight horizon and we can already see there that it looks like i wasn't actually as straight as i thought it was so let's just get that right level right about so i'll click apply and it does a slight rotation to the image and we can see here how the image has now been cropped to ensure that i don't have black borders i mean if you look up here at the top if i didn't have it cropped with these fun black borders on the sides and the tops here clearly i don't want automatically cropped in to ensure that that is not happening but you can also see that there's some image getting cropped out on the edge here on both sides and if i take my my distortion slider and i drag that down more then we might see more or less depending on the photo of that coming in there so i'm going to do is i'm going to drag that all the way down and then i'm going to manually crop this so that i can ensure that i get as much information as possible so if i go to the crop tool right now and i just start cropping it it's going to maintain the original aspect ratio of the photo but i don't care about the original aspect ratio so i'm going to go over here and turn off i'm going to just set it to unconstrained for the crop so now that means that i can adjust this and you see it actually automatically popped out to give me a few more pixels there i can manually adjust this to ensure that i'm not getting any of the black borders in there but i'm maximizing the pixels that i'm using and again the aspect ratio has now technically changed but i don't care because i just want as many pixels as possible i don't care if it's a you know two by three or three by four or whatever it doesn't matter to me okay so now we're off to a great start i've got a nice clean straight horizon i've undistorted the picture but you can't tell and i've got a little bit more cow on the sides which you know is always good right okay so now i'm going to go into adjustments the first thing that i always always do with a photo like this is go to my exposure compensation grab the exposure slider and just drag it up and down to see what i'm working with i want to know how much data i have so focusing on the highlights to start if i pull this down and down and down we see tons of detail up here in the clouds but we also see here in the center of the sun that we're clearly not going to ever recover data out of there right if it's wrong button there if i take that all the way down we are definitely not going to recover you know some great edges in here just because it's it's you know it's blown out i mean come on the camera is pointed right at the sun but it's good to know what is and isn't there and if i go the other direction on here take it up a bit you'll see here that i've got some detail in the shadows in here but not a whole lot again because that layer from the sun so i'm not going to try and recover a bunch of information out of the shadows in here but i might want to pull some stuff out of the highlights okay good to know these things are all very good to know so let me just do another reset oh actually let me undo that didn't mean to reset oh and i guess i can't well that was a good start so let's just redo all that work real quick very quickly here change that horizon back to straight did not mean to hit that reset button apply that and redo my crop so i guess it's a good example to show how quickly this can go when you're not actually talking your way through it unconstrained get that crop back a little bit let me take this down just a hair here go a little bit wider a little bit wider off to the side here we'll pull a hair off the bottom and call it a day all right good now we're back to where i started okay so again making the changes in the exposure slider just to see what i do and don't have in there but i don't actually want to make changes in there it's just about seeing what i do and don't have so now let's start actually making adjustments to the image i'll start with the smart lighting it's a good way to to play with it and see what we can do sometimes it makes it really you just kind of drag that up and get a better exposure out of the image and by doing that we're seeing some really nice things happening in the clouds up here the bottom part's getting a little bit flatter if you will which i don't really want but i do like what's happened in the sky so i'm going to leave that where it is at the sky but then i'm going to go down to my selective tones here and maybe pull my midtones sometimes you just got to go back and forth and see what looks better just pulling those up a little bit and then my shadows down a touch add a little bit more contrast into there yeah there we go and we're getting somewhere okay kind of like where that's going highlights do i want to pull that down a little bit probably not so again it's just about playing dragging those sliders back and forth trying to figure out what looks better than um what looks better with you know what slider in what position my black slider do i want to bring that down pretty quickly i'm going to discover that i don't because as soon as i do i really start to crunch down the black points in the shadow areas here so i definitely don't want to do that so i'll put the black point back where it was and let's get that up there and julian you want to mute your mic i'm getting a lot of mic noise from you and let's just drag that back into place there there we go okay so that's looking pretty good i think we've got a pretty good start here if i toggle the selective toning on and off it's not a massive change that's happening in here but it's all about subtlety that's all about subtlety and finding just the right amount of corrections to do all right next up let's play with the color it's gotten a little under saturated i want to pump the saturation up a little bit i don't actually have my saturation selected in here so what i'll do is turn off my favorites go up here to search for corrections because let's just say that i don't know where saturation is i'm going to type in saturation in here and there it is right at the top color accentuation let's go ahead and add that to my favorites because i think that's a good one to have in there and now with that in place i can go ahead and um and make today there it is and add some saturation there let's pump that up a bit and i can definitely get actually i can go pretty far with this can't i can get pretty far with the greens and the blues in there maybe i'll bring my mid tones up a little bit more now that i'm adding the saturation see if i can get a little bit more brightness out of that yeah i think we're getting pretty good there all right so now we're off to a pretty good start if we do a compare back to the original you can see where we started and where we are now it's definitely a big improvement in here but i want to do some more to the sky and i'm really going to have to take care of this kind of blown out section here which again i want it to be blown out but it's not looking so good here with these funny edges so i'm going to want to take care of both of those things to do this i'm going to go into local adjustments and now i'm going to use one of the new tools in local adjustments and that is the new control line now just in case this is the first time you've seen this control points which you are undoubtedly familiar with allow me to define an area to adjust based off of a wherever i drop the control point so if i dropped it like on the sky right here it would make a circular selection around where i dropped it and it would build a mask based off of that blue sky the control line is the same idea except there's kind of a combination of a linear gradient so there's my linear gradient and a mask that is built based off of chromatins and luminance color and saturation just our color and brightness just like with the control points but i choose that point with the eyedropper here now let's turn on the mask so we know exactly what's being selected and as i drag this eyedropper around it is building a mask based off of wherever i drop that so let's just put it there up in the sky and then to refine that let's go over here to my local adjustments tools here to refine that i can increase or decrease the chrominance and the luminance part of the mask on there so basically saying give me a mask that's based off of a narrow range of color a narrower narrower range of brightness or a broader one so we want to find just the right combination here that gives me the sky and a nice softening into the clouds we don't want to have see if i go too far we get these kind of weird edges on the clouds we definitely don't want that because that'll show up strangely in the adjustments so we find our nice little balance in there and build that mask and let's say probably right about there i think it's looking pretty good there yep i like that okay let's turn off the mask view and now if i go in and make adjustments to it like let's say i want to darken the blue the blue sky i'll go ahead and drag the exposure down on the blue sky on there and we can see how that's darkening in there it's looking pretty good and because it is this gradient i'm actually affecting the image a hundred percent on this side of the line zero percent on this side of the line and then just like a linear gradient in combination with the mask it is going from this line to this line so i think that's looking pretty good actually let me drag this up a little bit and you know what i'm going to do is i'm going to make that fall off a little bit more subtle overall so we're making it nice and a little bit darker up at the top but fading out towards lighter at the bottom which makes sense maybe i've overdone it a bit let's dial that up a little bit okay that's pretty good i like the way the sky looks there now let's take care of the sun i'm going to create a new mask incidentally this is really important if i go in here and i just grabbed a new control point now and i added it to the image it would be combining that control point with the control line that i just did i don't want that i want a whole new one so i'm going to go down here and say new mask and now i'm starting over again and let's go back to control point and i'm going to drop it right on the center of the sun here and let's make this a little bit bigger and because i want to blow out all these edges in here to make sure i don't have this weird edging from the clouds i'm actually going to crank the exposure up so it's kind of the opposite of what you might expect we're not trying to recover we're actually purposefully blowing it out but doing it in a very nice subtle gradated way and then i think a little bit of warmth is in order here because we have this really nice warm morning light so let me go over here to the color adjustments i'm going to take my color temperature slider crank that towards yellow and add some really nice warmth into that and really oh let's just really do it look at that beautiful is that too much i mean it might be a little let's back it off a touch a little bit let's say right about there i like that so now if we do a compare let me close out of this i've got a really nice nice blowout of the sun there it's nice and warm i suppose it might be a little bit too much still probably back that off a touch but we have this really nice beautiful believable look in there so i'm definitely digging that all right let's do um let's do one more thing i want to try and adjust the water down here so i adjusted the clouds up here and let me go back into my local adjustments and i'm going to back that off just a touch because i do feel like it's a little bit too strong what i did in there a little bit there we go now let's see if i can select the um the water down here in this little stripe of water here the the sorry the reflection of the clouds in the sky in this little strip of water so once again i'm going to create a new mask and this is going to be a control line again and it might take a little bit of playing to figure out what the right way to do this is if i just do a simple control line like this we are now effectively covering everything on this end at 100 i guess i should get that up a little higher maybe rotate that just a little bit try and follow the edge of the river there should be yeah that should work pretty well and i'm gonna build that mask based off of the blue in the water so let's go ahead and show the masks on there and let's see what we're getting um for some reason things are taking a moment to redraw here today i don't know what that's all about and masks hello we would like ah there it is and that's actually pretty good we've got a really nice mask of just the water in there it's uh i was thinking i might have to do some other kind of canceling on this side maybe i will maybe i'll do a negative control line over here to really isolate the water but let's just see if i can isolate the water further using the mask selectivity wow looks like i really can so that's working out quite nicely there let's just add a little negative control line in there just because we can so i'm going to combine this with a negative control line and this is going to be a little bit funny i'm actually going to go the same direction that i did before but then take the eyedropper and drag it down here into the grass and so i'm kind of overlapping these two and now you can see i've got a really clean just the water mask built in here so now let's go ahead and turn off the masks and let's go in here and make some adjustments i need to make that a little bit darker because i want it to match the top of the sky that i added up there so look too far there let's back that off a little bit there we go made that water a little bit darker maybe add a little saturation into that i just stick the saturation up just a touch on there and yeah i think that works pretty darn good all right let's close that there's i think a final image we'll do a compare back and forth and yeah that is a big huge improvement so your original one there with all of the geometry taken out all of the adjustments taken out down to this one where it's looking pretty darn good you know maybe i'd pull up my shadows a little bit more in the foreground but i think we're off to a good start maybe that yellow is a little strong in the sky but i like it i like it so i'm going to leave it there we're going to call that done so there is a huge combination of tools to adjust this image in there maintaining that really nice high key high contrast kind of blown out look but we've got that that really nice warmth from the sun in there really illuminating the front of the uh the grass on here silhouetting those cla the cows in there and so on i think it looks great okay that's image number one let's move on now to this one here this is gonna be a much quicker image to work with this is a sunrise photo and it's funny because when i shot this in my mind's eye it looked very very different and i remember when i first shot this playing with the adjustments going you know what what am i missing what is wrong with this photo it turns out the photo is just massively overexposed look at the histogram it looks fine i mean this looks like a very clean histogram i'm not blowing out my highlights in the sun in here it actually looks really great but it's just not how i remember it but if i go up here and i take my exposure and i drag this down quite a bit then i go oh there we go that is what i saw when i stood there early in that morning that was more the photo that i shot have this crazy orange sunrise the really nice silhouetting of the of the trees in here a little bit of light hitting the mountains on there all looks pretty darn good except the foreground here i want that grass it's totally gone if we go back to the original let me just turn off the exposure there's some nice grass in here that i feel like you know i want some of that to show up in here so let's do that with another control line go into the local adjustments go to control line here and i really just want to hit the grass so we'll make sure that if there's anything else that gets picked up we fade off nicely with that let's go and turn on the masks take my eyedropper and drag this down in here onto the grass and just like with control masks or sorry control points before where you drop that selection point is very important so you see here it's got a nice selection of the grass and we have just a tiny bit and suddenly it's too much so it really is often a case of just kind of drag and dropping this around until you find a point that's really close to what you want and then further refining that using the new chroma and luma mask selectivity tools so i'm going to guess it's probably a little bit of chroma in there that needs yep look at that pulling that down nicely the luma can i refine it even more yeah there we go looking pretty good let's rotate this just a little bit more in there i'm just selecting that grass i think that looks pretty good let's turn off the masks go into the adjustments here and take the exposure up just to touch on there and there we go look at that we're bringing some of that into it can i bring up the highlight there's not a lot of highlights in here to work with so i might not do much with the highlights now it definitely just needs some base exposure but i can really refine that and of course if i want to i can go back in here and while i'm looking at the image continue to adjust the mask itself i don't have to do that while i'm in the mask view i can do it while i'm looking at the image which of course is probably a good idea just to really ensure you are fully aware of what you're adjusting and dial that in there we go i like that so now i've got that foreground in there if i turn that off you can see the difference there before and after for that foreground and that is the photo that i remember taking so that's where i want to be on there i think i'm good with this maybe we'll do a little bit of adjustment to the sky here as well let's go ahead and add another control um actually linear gradient we're just going to go for a whole new mask i'm going to do a basic linear gradient graduated filter nothing fancy here just a simple one across the across the sky on there and then i'm going to go into my where is the micro contrast here and pull up some of this crazy texture in the clouds look at that there we go if you look closely here let's go into 100 it's wild i don't even know what this is called but look at the way the clouds have all these lines on them that was just some again some natural phenomenon i just thought it was so cool nowhere in there the way that showed up and we can really accentuate that by adding a little bit of micro contrast so there we go i think that is pretty darn good let's back out of that and i love it and of course remember if you wanted to take some noise out of this because it is looking a little bit noisy where i where i pumped up the shadows in there i can add some denoising using the using the prime denoising tool so we're going to leave it at that one for now all right now let's move on to the final photo this one here this waterfall picture so my reset i am okay so we got a really nice overall photo overall i think everything's pretty darn good here just straight out of camera it's looking pretty nice but you know let's see if we can make it even better first thing i want to do is worry about the straightening it's i'm looking at the photo i'm like is it is it straight this part of the building is not vertical should this be vertical i'm not really sure exactly what should be vertical should that be horizontal probably not so i'm going to go with a vertical idea here and let's do that by going back into that straightening tool the horizon tool but the horizon tool doesn't have to just work horizontally you can actually rotate this and then it automatically just knows to become a straightening vertically tool so let's go in here i'll actually go in a little bit closer on this and really make sure that i'm lined up on the edge of that building in there now here's an important point just because it's technically accurate as it's about to be doesn't necessarily mean it's right sometimes you look at that and you go i kind of want it to be leaning just a little bit off like it just it feels a little bit too straight in there so let's go ahead in here and where's my horizon adjustment in there there it is see it was only rotated by minus 0.1.01 it wasn't very much but i'm going to kind of split the difference in there let's just call it a minus 0.5 and just split the difference on there and maybe let's go minus minus 0.7 there that just feels better to me even though it may not be technically accurate it just feels better so i'm going to go with that to start all right now let's start adjusting the colors of the image themselves let's go back into the exposure settings here and let's just see what i've got i don't need to do my whole let's take the exposure slider up and down to see what i do and don't have because the whole image is quite well exposed we don't really have anything blown out except for these highlights in the water and that's great the specular highlights in there so i'm not going to play with that but i might want to do some mid-tone raising highlight lowering i don't know we're just going to play with them and see what we've got so go into my selective tones maybe pull up the shadows i want to do that yeah a little bit not too much kind of like a little bit of contrast down at the bottom but the mid-tones yeah those can come up a bit so so that's looking pretty good um this area here now i feel like it's too bright my eye is just going up here so now i want to darken this part of the scene all right so how we're going to do that now go to local adjustments i'm going to use a control point not really because i've got green foliage and blue sky i want all that to be darkened we control line well no again i don't want to isolate just the sky or the or the um the trees in there so that's not really right a graduated filter well no because it's not the whole top half of it so what am i going to use what's going to go old school man we're just going to use a brush old school brush we don't have to get fancy in here we have a nice big feathered brush this goes super big on the feathering on here to make it a little bit bigger in size my flow and opacity are up at 100 and i can turn on my masks if i want so i see where i'm painting and i'm just going to paint over this part of the image just really nice and big and soft in there let's hide that mask now and let's just pull that down a little bit just just a little pull that down there we go old school you know it's easy to get caught up in all the new tools and be like oh how am i going to use the control line it's not always the right tool to use sometimes you just want to go old school and just use a little bit of a brush in there so there we go pulled that down i think that's already looking better now though let's get fancy with the new tools let me go in and add a new mask and this time i'm going to use a control point and see how there's a i can't call it a splash of sunlight but it's a little bit brighter here on the on the tree i kind of like that and i want to accentuate that so i'm going to drop a control point and let's take a look at the mask that i'm building always important to do that and um see what i've got so like right there see that would not be good because i'm selecting too much other stuff i really just want the foliage so there we go pretty good on the foliage in there let's just start with that as it is and i'll take my highlights in here and pull that up and brighten up those highlights a little bit maybe even the mid-tones that touch in there oop that's the contrast uh bring up the where there we go the mid-tones up a little bit in there just to add a little bit of a splash of light to the foliage in there i think i kind of like that i think that's i think it works out pretty well and while that's on i can drag this around to see where it's what it's affecting so let's go right about like so okay digging that um same thing over here i think actually i want to darken this so let's create another new control point new mask new control point drop that on here i'm not even going to bother looking at the mask i think if i just pull the exposure down yep that's going to work out great on there so that's good so now i've got a little bit brighter over here a little bit darker down here what else do i want to do maybe i want to make the red building stand out a little bit more so how am i going to do that well i could do this with a control point let's go back to the new mask control point and select let's say kind of right in the middle of that red building there let's make this nice and big and look at the mask and from the mask here we can see that while i'm doing a pretty good job of selecting the red building you can definitely see it's affected more here than it is on the edge because that's how control points work but i want to affect the whole red building evenly so let's let's scratch this let me delete that guy and now use a control line and i'll draw the control line kind of across the bottom here and move the eyedropper up to the top and let's take our mass controls pull the chroma in a little bit and very quickly we can build a very nice mass that really just hits the red of the building even though technically the mask is affecting all of this over here it's not i mean there's so little of it showing up that it just doesn't matter the red building is what's being affected and that's what i want so let's turn off the masks and now what i want to do with this do you want to brighten it maybe let's try that we'll brighten it up a little bit yeah it's kind of cool brightening up a little bit maybe add a little bit of saturation into that let's pump that up a little bit give it that good old kind of red barn feel really nice bright rich red on there yeah i think that looks pretty good and uh yeah actually i quite like it maybe i'll maybe made it a little bit too bright let's pull it down just a touch there we go yeah that's looking good all right cool digging where that's going by the way over here you see all my different control points and lines and masks that i've built remember you can rename these so the brush here let's go ahead and rename that we're going to call this the what is this the sky and trees oop dress close enough and let's see this one was the bush let's see they'll call that the front right bush and this one was the one on the left we're going to call that the left we'll call this foliage and then the control line at the top that was the red building so renaming these can be really really handy it also makes it easy to remember which one you're working with so if you want to toggle one on and off just to get a quick preview with and without that you can do that you're not guessing which one's which so renaming those is definitely worth doing uh let's see here the last thing i want to do is work with the water the water down here is i think this water is beautiful right everything's beautiful this water down here is just a little bit murky and kind of gray so let's uh let's see if we can change that a little bit i think what i'll do is go in and create another new mask and we're gonna do control line again and let's just get that bottom of the water grab the eyedropper down here we'll go into show masks and make sure that i'm really just affecting the water and i'm definitely going to need to play with the mask selectivity it's amazing how much you end up using this tool now that you've got it the ability to really isolate what part of the mask is being uh what part of the image is being masked out so let's get that let's see let me pull this down a little bit in here i'm just trying to get that kind of pond area of the water in here pull that down a little bit more let's get that up like so let me keep on maybe i need to move this eyedropper around sometimes you know don't forget you've got multiple things to work with you can move the eyedropper around to sample from a different starting point well that's definitely getting better we've got our mask selectivity to refine or expand the area that is being affected i think that's looking pretty good on there let's turn this off and see what we've got and now let's see here my midtones are all down on there for some reason let's take this and it's cool that water blew that water by adding a little bit of color temperature shift into it there we go look at that we've just made that water a little bit bluer by tricking it with a little bit of color temperature compensation and now there we go and now let's call that my red building's off let's turn that or call that the blue water and now if i toggle that on and off let's go ahead and close out of here if i toggle that on and off when you see that we've added a nice little bit of bluing in there looks like i've got some area here that i might want to remove but i think that is looking pretty darn good so let's do a compare to the original there's the original image and the adjusted one original and adjusted i think that is pretty darn good i don't know about you guys but i like it okay those are the three images we actually got through all three of them that's fantastic let's see if there's any questions that need answering and um and then bring this thing home yeah right so first of all thank you for all these tips and uh i might be one of the first person that i'm gonna use them tonight once i'm home and night is already here for me uh well we didn't have a lot of questions but we've got one from cell tomloc asking why don't you bring the um bring us back up on the screen so i think i can put it on the screen if it works uh there we go can you see it i see the question so while you're playing with that um oop the question went away yeah okay i'm going to put it back here on pc there are none of the controls on the lower taskbar plus and minus control points and mask you know i have heard that before but i'm a pure mac user so i don't know what i'm going to do these have to be the integral part of the app where would they be if they're not showing up uh well i'm a bit like you i'm using mccain touch and i don't have the answer right now but i'm going to make sure that i will have the answer later on and i will put it uh uh in the comments section somebody asked that on my youtube channel as well and i'm just i'm not a pc user so i don't know but i mean it has to be there it's an integral part of how these work um let's see here if you you hit um what is it i don't remember the remember the keyboard shortcut to bring up the tools this guy it's got to be there um yeah you'll find out i don't know the answer to that i'm very sorry it's somewhere it's somewhere they had a shortcut to find them uh and i'm going to double check that to make sure we we give the answer maybe you can figure that out while we're on the show if you want to bring up another question i can i can address that uh if we have another question well not that much we had some people just talking about the sound that the eurozone was very good and my voice was very low and uh that's all we have tonight for the question not not many but uh what i can say it's for those who want to learn more about the control points i think we still have my screen up um if you want to yeah switch that back over let's let's go back on you and there we go uh yeah okay it's like it's myself and it's better there we go to see yourself too when i'm talking um so it was a short a short live session but in 10 days more or less 10 11 days you have uh upcoming webinars with date so and where you're going to be talking about uh control lines uh with the skies and the control points also with dxo for the lab5 so this is one of the main new features the control lines and once you start knowing how to use them properly it's it's true that it's something very amazing and the more you use them the more you uh you take pleasure to edit your picture and uh it can be something very quick uh to edit once you know exactly how to use them so we've got this uh webinar coming on november 29 and then we will have another webinars also uh a bit different because you're going to be talking about dxo theme pack 6 which is a a big thing if you like analog rendering um on your pictures so i'm sure that it will be a great web enough too um absolutely and we will have also another live session uh more or less two three weeks times we have to talk about it you have to make sure that uh uh our schedules are working well together and i'm sure we will find something um to do we will inform everybody on social network facebook instagram twitter and youtube so more new things to come for you and two new webinars and i did put the link in the comment section so if you want to subscribe subscribe to the uh to the webinars you can do so uh and you will have a longer explanation on all these tools and i'm sure it will be great thank you for your time and absolutely so i'm just reading if some of the people that just checked it's not there this is from florian i think florian is in france uh maybe local adjustment is off that would make the lower toolbar disappear and we've got stiff body thing above the image question so we're going to check that anyway we're going to make sure because this is true that you are using macintosh i'm using macintosh so i'm not used to a pc uh but we really want to make everyone's happy so i'm gonna dig tonight and talk to the product owner of the exophot5 and all those people using pc and i will put the answer later tonight sounds good yeah i think everybody so everything worked well better than three hours ago uh which makes me very happy uh jose take care of yourself have a very good day thank you very much for your time and uh we hope to see you joseph and all the person behind the computer very soon for a new live session take care thank you and be safe bye everybody thank you [Music] you

Channel: DxO

Views: 4,436

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Id: SQ7oypQOoko

Length: 44min 17sec (2657 seconds)

Published: Wed Nov 17 2021