Simple FUJIFILM Workflow in Capture One 21 (How to use FILM SIMULATIONS with Variants)

are you a fujifilm camera user great i love them too in this video i'm going to show you how to take advantage of the true to life color processing tailored to fujifilm cameras in capture one keep watching hi everyone this is kasia's mokwa welcome to my channel where you will always find photo editing training and educational videos to help you grow as an artist and photographer today's video was requested by stuart and we will take a look at the complete workflow so we'll begin with a euro import then we'll determine what to do next in terms of the base characteristics and then i will show you very simple workflow we will work on exposure adjustments luminosity adjustments and very simple color grading and you will learn as well how to approach working with the fujifilm film simulations presets that are available if you are specifically a fujifilm camera user ready let's jump right into it okay so i'm on a mac i have inserted my memory card from the fujifilm camera so here are my raw files all i need to do now is to jump over to capture one and create a new session so new session let's just rename this session let's just call it test fujifilm and now let's just make sure that the session will be created in the folder that we indicated before so i want it to be sitting here let's just hit enter so everything is right let's now hit ok so that way we have created our session let's now import the images so i have clicked on the import button and this is the new redesigned import window for capture 121 as you can see now all of the images are selected we can see this little orange mark beside every single image if you don't want to import all of the images simply untick this little button here nothing is selected right now so you can pick specific images by clicking beside them and marking them if you want to go the other way you can select all and simply untick the images that you don't like that that you don't want to import i want to import all of them so i'm going to click pick all now all of them are marked now you might want to make sure that in the import to tab you have the correct session selected it can be done very very simply just click here choose folder and here just make sure that we have our session selected and the capture folder so this folder will be set as a import folder typically you don't need to do this however if you want to make sure 100 that everything will be working fine i would recommend checking this so we are set let's just hit import all and now our capture folder inside our created session is getting populated with the fujifilm raw files so this is going to take a minute or so the first progress bar shows the process of importing the raw files from the memory card and the second progress bar down below shows the process of creating these little thumbnails inside capture one okay so our import has finished inside our capture folder we have all our 75 images plus two that i have others in the end to show you one important thing so let's now pick one image that we will be processing during this video so let's maybe go for this one so as the very first step i want to take a look at the base characteristics and i want to take a look at the possibilities that we have here so let's jump over to the color tab so when it comes to the icc profile i have only the generic settings so if we just quickly jump over and take a look at the metadata i have taken this image with the xt2 4g film camera let's jump back to the base characteristics so you can see there's there is no specific color profile for fujifilm xt2 if you are working with a high-end cameras there are specific color profiles for those cameras unfortunately for fujifilm xc2 we don't have such a possibility so the best way is to go for the generic so that's it so basically with xt2 you don't touch the icc profile okay let's now move over and take a look at curve so here if we open the drop down menu we can see that we have the whole list of the possible fujifilm specific film simulation so i have taken this image with the provia standard film simulation but i have the possibility of changing this setting here so i can go for film extra shadow if i wanted to get more detail in my shadows and make the shadows a little bit more soft i have the possibility of going for monochrome look i can go for sepia and so on i have the possibility of going for linear response as well so the important thing that i wanted to show you is that these two images i have taken with different film simulation set in the camera and they are not reflected here as well if you are a black and white photography lover and if your fujifilm camera is set to monochrome film simulation this doesn't limit your possibilities because if you set your camera to shooting in black and white this makes you look at the world around you in a bit different way you focus more on composition of course you get rid of the destruction of color but if in the future you decide that you would like to see how the color representation of the scene would look like you can still go here to the base characteristics tab and under curve you still have all the other film simulations available so you can go for example for vivid you can start editing with linear response if you want so okay let's move over and let's analyze our selected image so i can get rid of the browser we'll have a little bit more space and let's take a look at our base characteristics so again i have taken this image with the fujifilm xt to camera so i go for the generic icc color profile let's now take a look at the curve so by default we will always have auto here and now i can just hover over the other options and i can decide if any of these options if any of these fujifilm simulations will give me a better starting point and to be honest i have to say that i never do this when i'm working on my fujifilm files my xt2 camera is always set to the standard to the fujifilm pro via film simulation because i don't really find that these different options they give me much of a difference so i would always go to capture one and i would work on color grading so i don't touch any of this however if you like this film simulations inside the fujifilm camera you are free to work with them so for a change i might take a look at these different options and so this is the image with auto setting so if i wanted to go for softer shadows i might go for film extra shadow this gives me more detail in the dark areas however this image was taken during overcast there were plenty of clouds in the sky the day was quite dull and i don't feel that this will benefit the image at all so we can scroll through the other options when it comes to monochrome as well i would rather start from the standard image the color image and use the specific tools inside capture one to create the black and white conversion so for the sake of this video we might go for the vivid because this makes those greens on the trees on the tree trunks a little bit stronger in comparison with oat or here everything is grayed out so the vivid gives a little bit more saturated colors and we can take this as a starting point and you might ask what about the linear response so in case of this image this doesn't really make sense let's check exposure warning so we are no clipping and highlights here the linear response is useful if you have really bright areas in your image and if you like to see if there is some texture that can be revealed and that is lost so if i move over to my exposure top if i go down with the exposure you can see that there is no much texture showing up so basically the day was really dull there was no strong light and it doesn't make sense so if i would start with the linear response that would be super helpful in case of an image that has very very strong whites and there is still plenty of beautiful detail in the highlights that is waiting to be revealed in case of this image is just flattens the contrast the linear response is the flattest curve that you can pick from this selection this is the most neutral curve you can say as well that this is the untouched raw file because capture one adds very little the minimal amount of adjustments if you go for linear response any of the other options obviously have more adjustments applied by capital one automatically okay so let's go for fujifilm valve via vivid this will be our starting point for this edit so as the next step i would go for the option that i typically use i would go for auto level so here is my levels tool and to apply auto levels let's just click on this little magic wand icon so you can see that that way the contrast was adjusted by capture one automatically so if we want to take a look at the before and after let's press and hold alt key so this is before and after i feel that this contrast is a little bit too strong i don't remember the scene was that contrasty there was no such a light to create this effect so i'm going to manually adjust it i'm going to soften those blocks and pull the white point a little bit backwards okay i think this is looking good this is a perfect starting point and now let's take a look at the white balance so let's just jump over to the color top and here in our white balance tab we can further adjust the colors so i remember that the scene was a little bit cooler so i'm going to go down with my kelvin value so this will be adjusting my temperature i'm going to actually highlight this value and work with my arrows on the keyboard so downward pointing arrow will push the slider towards the left and will add blue to the image okay i think this is a little bit too much so let's move back and let's stick with the value around 5685 when it comes to the tint here we can correct further the image if we go to the left obviously we'll be adding green if we go to the right we will be adding magenta let's just reset the tint we can double click on the slider so let's highlight the value here and let's precisely adjust the value with the arrow on the keyboard so if i will be going with my downward pointing arrow i will be adding a little bit of green so i think this works really well so i'm going to stick with the 2.6 for the tint so let me quickly check this is my image before applying white balance adjustment and this is after the difference is very very subtle however it is visible and after correcting the white balance i have this beautiful silverish gray visible in those trunks in the background so again this is after correcting the white balance and this is b4 so here the image is way way warmer and here is the image after the adjustments okay now i would jump back to my exposure tab and maybe i would go software with the contrast i feel that the black background here is not helping so let's just change it to white so like this the image looks super super bright and i will be working on these nuances here visible in the background i will be working on color grading and i feel that the black background is too strong it's just basically killing the image so let's right click and let's go for white so when we have selected white we can see that the snow is not actually pure white it has some blue to it we can take color readouts here at the top so we can see now way more nuances and i actually have the feeling that the image could be softer and still a little bit brighter so when it comes to the contrast i'm going to go down just a touch in the exposure tab and i'm going to go for maybe something like this okay i think that negative 10 works well so this is before this is the after so this softens the image i can always go back here and fine tune these adjustments that value next i will be working on color grading so i like typically desaturating my images a bit to create this sort of neutral canvas i'm going to go just a tiny bit maybe towards negative five so this is before this is the after very subtle difference but it is helpful for me when i'm working on color grading now we can take a look as well as the hdr tool or we can open up the shadows to make the image a little bit brighter i think this is a bit too much i think the value around 34 works just fine and we can now zoom in a little bit and focus on the snow so with the negative highlight value will be bringing a little bit more of texture visible in our snow however i don't want to make the image too dark because if we go all the way to the left this will darken the snow specifically here so let's go for something maybe around negative 17 this works well okay with this few very simple initial adjustments i feel that i'm ready to move over and work on color grading i will be working with the color balance tool let's work on color grading on a separate layer so i'm going to create new fill adjustment layer and let's just rename it let's now move over to the color tab and let's pick our color balance tool let's open it up and let's begin with master so i want to make this image a little bit on the warmer side i will be playing around with the greens and those orange leaves so i'm going to go for this sort of direction to add yellow and orange to the image so this is what i have applied on the master tab and this relates to the whole image then i will target specifically the shadows luminosity range the mid tones and highlights so if we take a look at the histogram in the master i'm applying my color adjustment i'm injecting a little of the warm yellow and orange tone to the whole image to the whole spectrum to the dark tones blacks mid-tones and highlights in the shadows i will be targeting specifically this part of the histogram mid-tones the middle part and the highlights i will be targeting that pick of information reflected in the histogram here so let's jump over to shadows and when it comes to shadows i will go for similar color so i want to inject quite a lot of this warm tone something between the orange and yellow when it comes to mid-tones i will actually go for a complementary color here so we have those greens those warm greens on the tea trunks so we are somewhere here so i will go towards the opposite direction on the collar wheel so we have the trunks with this sort of color here i'm going to go the opposite direction and inject just a little bit of complementary color to create more depth to the image to create a color contrast so something maybe more towards the purple something like this works really well and i'm going to actually jump back to shadows and apart from injecting color to my shadow range i want to darken them so i will be using this slider and i want to make my shadows just a little bit darker so we have injected the purple to the mid tones i'm not going to make them darker so let's leave it as it is and let's move over and work on highlights so here i want to add a little bit of blue so let's go somewhere like this and i'm going to make my highlights a little bit brighter okay not too much something like this and maybe let's go more towards the cyanish color okay perfect okay so we have been working with the color balance tool this is the image before applying color grading and this is after the very subtle color grading now i want to focus on these trees visible here in the background let's just close the color balance tool we won't need it anymore so i'm now interested on color grading these trees visible here so now they are quite neutral we have those silvery stones and to create further depth to this image i want to inject a little bit of blue towards this sort of luminosity range so in order to do this i will be working with a luma mask let's jump over to our layers tab and let's create new field adjustment layer let's rename it let's call it there is background blue so we'll know what we are doing here and i will be now creating luma range mask let's maybe zoom in a little bit so we'll be able to create precise mask because once you activate the tool you can't zoom in on your image okay so here is our luma range mask let's stick this little button here so we have our mask displayed the red overlay indicates our mask and this means that those areas in the image that are covered with the red color with the overlay will be included in our mask and will be adjusted we will be basically adding the blue to those areas so i'm going to fine tune the mask i want to narrow the range i don't want to have those blocks included so let's go for maybe something like this and let's make this transition a little bit smoother i don't want to have my snow included in the selection so i want to be precise and have those trunks those trees visible in the background so let's see what else we can do this one i think we can push just a bit towards the right hand side so the transition will be softer when it comes to the black point let's maybe include a little bit more here so something maybe around 73 the transition is fine so now let's actually fine tune our mask fine tune our selection this can be done with these two sliders so basically if the radius is set at zero it doesn't matter what you apply here because the sensitivity slider will be only working if the value will be higher than zero so let's increase it let's go for something around here maybe eight and let's increase sensitivity so this will make your mask more precise and i'm going to go for a value around 86 just to show the difference so this is the max and if we go all the way to the left the mask is way less precise you can see those really soft transitions so this is not what we are after in case of this image because if we go all the way to the left basically this part is sort of melted there is no visible distinction between those trunks in the background and the sky so let's make the sensitivity way stronger so now with higher sensitivity settings you can see that the definition is very nicely improved okay so our mask is ready let's hit apply if you want to see the preview of the mask you can always hit m on the keyboard so this is our mask let's zoom out let's hide the preview and let's now inject a little bit of blue to those areas that are highlighted with the mask so let's now make these trees a little bit colder let's inject a little bit of blue i'm going to go for the color balance and either in the highlight or master let's maybe start with the master so i'm going to go for sort of cyanish tone and this is very very subtle before and after and let's now go for highlights because if we just hover over those trees in our image and if you take a look at the histogram you can see which luminosity range you are actually targeting so this is sort of highlights and very very bright mid tone so i'm going to go for highlights and here i'm just going to inject blue so my trunks will get this very very beautiful tone so immediately after this adjustment the image got way cooler so this is before and this is the after it's very subtle difference but i'm sure it makes the mood way more wintery the image feels way more sort of frozen so our color grading is in place let's just see the image before and after now it's time to some final adjustments and by the way if you're getting value from my videos please leave me thumbs up please leave me a comment i really really appreciate it i reply to every single comment under my youtube videos and of course i'm always waiting for your films suggestions so if you have anything that you would like to learn inside capture one please so just if i find that it will be beneficial for my viewers i will definitely make a video on it and if you really really like this channel i will be super grateful if you subscribe to my channel so let's now jump back to the image and let's focus on those very few final touches so i might increase the contrast a little bit just to make that definition a little bit stronger and to do this i will be working either with my clarity tool inside the exposure tab so for this i will actually create new field adjustment layer and on this layer i will be working on sharpening the image and adding the definition so when it comes to sharpening let's maybe start with this let's move over to the detail tab and let's apply a bit of sharpening remember always take a look at your image at least at 100 magnification level the image was taken with quite a shallow depth of field i had the aperture set to two so the trunk in the foreground is soft and those threes in the background are soft as well so we will be looking at the objects that i was focusing on so i mean these tea trunks here in the middle of the frame so let's apply a bit of sharpening i'm going to increase my amount nothing crazy i think something like this already makes those branches too strong so i think something around 200 or even less and i'm going to complement it this with my clarity so let's go on the clarity as well towards the positive value i think this benefits the image let's see before and after applying clarity so the image is almost ready as the last touch i will add the custom vignette just to cover this right down corner just to make it a little bit darker because there is nothing really attractive here and it's a little bit too strong it's distracting from the rest of the image that was built on this diagonal line going across the frame so let's just create new field adjustment layer and let's quickly rename it to vignette and here i will be working with the gradient so let's just apply it over there and i'm not going to be adjusting exposure i will go down with highlights so this will reveal the texture in the snow and it will make the snow darker i don't want to make it darker than this this will look artificial so actually i think i went a bit too far with the mask so this is the preview of my mask i'm going to push it backwards so just this corner here is a little bit darker because the eye will always go to the brightest areas in the image so this is the final result i hope you have enjoyed working with me let's just quickly go through the adjustments so let's switch off everything so this is our raw file this is our starting point so here we have picked our vivid curve and then we have applied some basic adjustments on exposure on hdr and we have applied auto levels adjustment so then having all our luminosity adjustments in place we were ready to move over and start working on color so this is our first color grading layer then we have added more depth to the image we have made those trees in the background color so this is our adjustments we have used the luma range mask and just to show you this is non-destructive workflow if you are working with the luma range you can always readjust the mask so i if i go here i can still move around with these points with these sliders and i can either extend my selection towards the black tones or the darks or if i go towards the right i will include more of the snow so just keep in mind that this is possible that once you apply your luma range mask this is not sort of baked in the image you can always go back and fine tune this as the last steps we have applied a little bit of sharpening to the image we have applied a little bit of clarity and we have darkened the bottom right corner when it comes to sharpening i'm tempted to actually go for a little bit higher value maybe something like this around 250. okay so our final artwork is ready so in this video we've been talking about the complete fujifilm workflow beginning with importing the file and going through very few adjustments and color grading so i've been talking about the curves adjustment here in the base characteristics i have mentioned briefly the linear response if you want to learn more about this option i will link another video where i cover this in depth and i might show you one very last thing at this point what i really really like so we have started working on this image with the vivid film simulation now if i just right click on the image and click clone variant let's clone another one so now we have three images that are exactly the same but super quick in speed of a second we can just apply different film simulation and see if we like it more or maybe it can take our edit in a different direction we can create different versions so for the middle image i'm going to actually go here and change let's go not for sepia maybe for extra shadow so you can see that this image in comparison to this has this very beautiful painterly aquarelle filled with very very soft colors and let's go for the third one and here let's maybe check this will be the film standard so you can see that the colors are less saturated the image is colder it's more sort of graphical we have stronger contrasts and less color so that way super quickly after working on your image in capture one you can still try out those different film simulations that are exclusive that are specific for the fujifilm cameras so thank you very much for watching this was kasia's mokwa from digital art classes and i will see you very soon in the next video

Channel: Kasia Zmokla

Views: 5,683

Keywords: Kasia Zmokla, photo editing, capture one, capture one pro, capture one tutorial, lightroom alternative, post processing, capture one 21 tutorial, capture one 21 photo editing, capture one 21 editing, fujifilm capture one, fujifilm capture one film simulation, fujifilm capture one pro, capture one fujifilm tutorial, capture one fujifilm simulations, fujifilm capture one 21, capture one fujifilm, capture one fujifilm workflow

Id: GiuCXqWT94k

Length: 32min 41sec (1961 seconds)

Published: Tue Jan 19 2021