Advanced Session Workflow

 

Get The Most Out of Your Photos with Capture One Pro 10

 

Lesson Info

Advanced Session Workflow

And we're gonna say file, new session. Call this "advanced session," and say okay. Now before doing anything else I'm just gonna hide caption one and this scenario with Lisa, we're gonna shoot... Uh, wrong session, advanced session. With this scenario we're gonna shoot three different looks. So this kind of case could be you're doing a fashion shoot or beauty shoot or clothing shoot and you need to do various different looks throughout the day or different outfits and so on. Rather than having all those images together in the capture folder, that makes it a little bit tougher for organization because you're going to have a capture folder with kind of ten different outfits in it, it's going to be harder to visualize and manage and make selects. So before doing anything else I'm gonna make some new folders. So we're gonna say, look one, look two-- and you can do this directly in the finder or in windows explorer--and look three, like so. So now if I go back to capture one, you'll see a s...

ection down here: session favorites. So what session favorites is, if you place anything in the session favorite, that means if we use something like smart albums, which we learned about earlier, capture one will know to include those folders in the smart album such. So by default smart albums will only look in the capture folder, selects folder, output, and trash folder. If we want to capture one to search in other folders, we have to add them as a favorite. So I'll select those...whoops I'll do a quick double click. So I'll select those and drag them just like that, over to session favorites. So now capture one knows that these are kind of intrinsic part of the session, and smart albums will be looking in those locations as well. So for our first look if we target look one instead of shooting to the capture folder, we want to shoot to the look one folder. Before we do that we need to set up our naming convention to be a bit smarter than it was before. So again if I click on the explore button here, then we're gonna do a similar naming format. So we have document name, once again. And if you know the tokens, rather than kind of scrolling down here and dragging them up, we can just start typing. So I know I want to have document name so if I type D.O.C it brings that token up. I can just press down on my cursor key then and press enter. And that's chosen that document. Next thing I want to have is the collection name, which kinda sounds odd, but remember, a collection is simply a collection of images. So that's gonna be the look one folder, the look two folder, or the look three folder. And then finally like we did before, we're just gonna have our counter, like so. And I'm gonna split that up with underscores just to make it a bit easier to read. So underscore there, underscore there, like so. And say okay. So document name, that's the name of the document at the top here: advanced session. Collection name, that's the name of the folder we're gonna shoot in. And our counter, let's have four. We're probably gonna shoot more than nine pictures I guess, Jeff. So four digit counter and say "okay." So if we go back here, first of all we need to tell capture one that we want to shoot into this folder. If Jeff took a picture now... don't do it. (laughs) Then it will go to the capture folder, not our look one folder, so we need to right click, and say set as capture folder, like so. So as soon as we do that, then a little camera icon pops up. That means this is our capture folder so any shot we take is going to go in there. If we look in at the sample, it says advanced session, look one, because it's taken the collection name. And then we've got a four digit counter. So again I didn't have to type in any manual naming convention, it's all totally automated, which means it takes the human error out of it, takes away spelling mistakes and gives you consistency. So I want to reset that counter so I hit my F12. You see that's gone back down to to one, like so. So let's leave... tell you what, let's as we're limited with screen space, let's just put next captain naming back over there. And we go to look one and Jeff, you can take some shots. Finally you can take some pictures again. (laughing) Um, you could stand again for a few. Should we check the flash trigger is uh... Is it on? Yeah, good stuff. I'm keeping an eye on that. (laughing) Okay great and just bring your chin down maybe just a bit. (camera flashing) So images are popping in again like so. If we want, remember if we want to reverse... never remember which one it is... reverse like so, so we see the most recent image at the top. Remember if you prefer, you can either place the browser below but generally if you're shooting portrait for example, you get more screen real estate by having the browse on the right hand side because then the portrait fits nicely in the central viewer. So if we just go back to the finder for second and we look at look one, you can see that's where we shooting into. So let's just to do a few more for fun. Everything else we've kind of left as before so all the things we spoke about in the basic session about next capture adjustments is all exactly the same. Like so. So we should, we should throw our adjustment on. Shouldn't we really? Let's wait til those come on. So, see, you got very quickly two orange, three orange lines there, so that tells you how many images are left to come. So two left to come, one left to come, and so on. So that gives you a visual indication of what's left in the buffer. Now, you'll see that on Sony cameras. You want see it on Nikon or Canon. Because Nikon and Canon, they don't relay how many images are incoming. So again little differences between manufacturers. Some things we can pull from the camera, some things we can't, for example. So let's do our little tweak again. Oh, did we change aperture? Were we on F7 last time? I can't remember. Seven point one. Seven point one. So there we go. I'll shoot a few more. Shoot a few more. And you did that on purpose right? I did, always. (laughing) Great just like that. That looks better now. So once again what we can do, is, at this point we've forgotten to do our adjustment but that's not a problem because what we do is, once all the images are in, we'd throw in a bit more contrast, let's change that. You preferred it a little bit warmer. How's that? Well... You good? A bit more? Maybe a bit more. There you go. And then let's do a slight vignette. Let's go to the color balance tool, which we're gonna look at extensively later and just play with that slightly. So now if you remember from earlier lessons, if we want to copy apply, we just grab copy, select all and then say apply. And then our adjustment is done, like so. You can see we've made an adjustment because this icon pops up in the bottom right hand corner. So that means we've adjusted from the default. So we're happy with our look one. So what we need to do now is switch capture folders. So again, hit the capture folder. We can either right click and say set as capture folder. There's also a shortcut for that, funnily enough, which is under file, by default there is no shortcut. Um, so, again you have to add that in your keyboard shortcuts editor. But again, that could be a really quick way to do it. We can, you know, tap a shortcut to change folders. Let's actually make one. Edit keyboard shortcut. It's in the file menu. Set as capture folder. So let's try option C. There we go, that's free. There's...I was talking to our product manager earlier... there's over 500 shortcuts in capture one that you can possibly invoke, so having a keyboard like the logic keyboard is definitely a good way to remember those. So now we've got that shortcut up, so if I do option C, see the camera icon change nice and fast. If we look at our next caption naming, sometimes a good idea to, to float that. We're at look two automatically because we're now in this collection. But we want to reset that, so remember, we can either go to counters and reset the counter, or we can use a shortcut, like so. And now we're back to number one. So we're ready to shoot our second look, as such. Great. Reach around just a little bit. Yep, just like that. Perfect like that. (camera flashing) There we go. We're not gonna choose that one I guess. (laughing) Great, like so. And you see it remembers actually the look from the previous set as well, so we don't have to worry about our adjustments once more. So we've shot into look two, just so you can see again what's happening the finder, there's our shots from look one there's our stuff from look two, and, what we're going to do is look three. Do you wanna make any further adjustments with these ones Jeff? Are you happy? Yeah, I thought that last shot looked a little dark so I'd probably go to number five and work off that one or I'd shoot again. Yeah let's pop a few more up then for this one. You're on F seven one so that's good. Great, like that. Okay come in a little bit. That looks good. Okay so we're happy with our look two. So you remember the process. I'll let those come in. Remember, keep an eye on what you've got in the buffer. So that's it. We've got our last show. Fantastic. During tethering, are the images stored on both the camera card and the computer? Excellent question. No. The the images only go to capture one. The reason for that is that we pull the image directly from the camera, it's not a secondary process where the camera writes to the card and then we download from the card to capture one. We download directly from the camera and the reason for that is for performance. It's much, much faster to just pull it direct from the guts of the camera, if you like, than having to ask the camera to write to card, and then download to capture one. That would double the amount of time to actually get the image into capture one. So capture one's all about performance, so to optimize that, then that's the way it works. If you want a backup solution, then the smartest thing to do, is simply have the session, so let's say, advanced session, either the periodically, manually, just dump that onto a external hard drive or use an application like, you know, ChronoSync, for example, which will mirror a folder or a group of files of your choice and periodically backup as you want. And I believe Jeff that's that's, the sort of workflow that you do as well. So, answer to that, no, but there's a good reason for it. Okay so let's go to look three. So we can use our shortcut, so that was option C, that switches our folder; we can press F twelve to reset our counter and we're good to go. Great. Pop your shoulder just a little. Fantastic. So images popping in quite nicely. Like so, notice that we've got the naming conventions set up. Let's zoom in down the bottom, like so. Again, I didn't have to do any...Whoops, go away... I didn't have to do any manual typing or changing like that. It's all totally automated. Again takes out the human error. Don't have spelling issues, don't have numbering issues and so on and so forth. The reason that we also want to have the collection name as part of the naming convention is if you don't have the token like that then you're going to end up with three different looks with identical file names. Because you'll have advanced session, one two three four five six seven eight, then when we went to the second look, you're gonna have the same naming convention. So to differentiate between those different looks, it's really important that we use collection name to add that additional token in the next caption naming. So how many shots we go in there Jeff? There should be a keeper or two in there, shouldn't there? Yep. Okay. So what you'll see is, in a session, is that by default, it makes two smart albums: an all images smart album and a five star images smart album. So the nice thing about all images is that we tap on all images, it shows me everything from my session. So we've got our looked one, and we've got our look two. And then we've got our look three like so. So that gives this a nice overview of every single image in the session.

Class Description

Imagine if you could capture, tether, adjust color gradient, and manage files in one program? Enter Capture One and, David Grover, a Capture One educator and expert. In this class, you'll learn how to maximize every shot. Here's what you'll learn: 
  • The interface and tools, so you can customize a workflow suited to your needs 
  • Techniques to grow a searchable and automated image catalog  
  • Ways to simplify your workflow so you can tether and adjust your RAW files WHILE you shoot 
  • Tips on using the color management tools to get that cinematic crisp look
With Capture One, manage your photos and edit all-in-one program for a simple streamlined process. 


Software Used: Capture One Pro 10, Adobe Lightroom CC 2015.4 - 2015.8

Lessons

1Introduction 2What's Possible with Capture One: Quick Edit 3Capture One Versions: Installation Basics 4Interface Introduction and Customization 5The Power of Keyboard Shortcuts 6Image Management Basics 7Organization Best Practices 8Building your First Catalog 9Image File Management Automation 10Advanced Catalog Organization 11How to Add Meta Data 12Searching and Filtering Techniques 13Further Catalog Strategies 14Basic Selecting, Rating and Culling Techniques 15Advanced Selecting, Rating and Culling Techniques 16Basic Composing Techniques: Cropping, Rotation, Straightening 17How to Correct for Perspective 18Basic Tool Behavior 19Tool Basics Part 1 20Tool Basics Part 2 21Converting to Black and White and Adding Grain 22How to Apply Image Adjustments Globally 23Sharpening and Noise Reduction 24How to Create and Save Styles and Presets 25Why Should You Shoot Tethered? 26How to Set-Up Your Tethered Hardware 27How To Set Up A Tethered Photoshoot Project 28Basic Session Workflow Organizing And Making Selects 29Basic Session Workflow Exporting 30Advanced Session Workflow 31Creating Selections With Smart Albums 32Advanced Exporting 33Saving Session Templates 34Collaborating On Set With Capture Pilot 35Using The Color Editor Basic Color Adjustment 36Skin Tone Adjustments 37Color Grading Using The Color Balance Tool 38Image Processing Demo Perfecting Color 39Create Masks for Local Adjustments using Brushes & Gradients 40Advanced Local Adjustments using Masks 41Dodging and Burning in Capture One 42Creating Local Adjustments with the Color Editor 43How to Use Local Adjustment Masks for Color Editing 44How to Remove Objects in your Image 45Image Processing Demo: Local Adjustments 46Exporting with File>Export 47Export Strategies and Proofing Previews with Process Recipes 48How to Export for Social Media 49More Clever Tricks with Capture One Pro 10 50Final Q&A

Reviews

Stef
 

This is a good overview of Capture One 10. The course is well structured and presented logically and progressively with clear and concise examples. The software is intricate and the amount of details presented will benefit from a second or third viewing, along with sufficient practice. David is an excellent teacher, slow enough to follow, fast enough to keep the listener's interest. I would agree with a previous reviewer that the shooting session was uninspired but the tethered demo was thoroughly useful nevertheless for someone to become an assistant, for instance. If you have ever used LR in this role, you will appreciate the power and stability of C1 for tethering. With regards to the comment about this class being non-creative; before you can run you have to walk and this course is all about understanding how to operate the software not about what you eventually want to do with it. Capture One is well designed, speedy and its homogeneous interface makes it easy to get to a result once you have a good knowledge of its layout and principles, compared for example with LR which is all over the place with modes, inconsistent and slow operations. Likewise, the C1 color editor is miles ahead of LR color functions, in simplicity and overall efficiency. This class is about mechanics for a reason; creativity is a parallel stream. It would have been beneficial to have a module highlighting major differences with LR for people migrating to Capture One as the word on the street is that C1 is hard. I would suggest to listen in to convince yourself of the contrary. All in all, I recommend this class; it is time well invested if you want to become more comfortable with Capture One and discover its potential.

user-b05602
 

The course is excellent and David does a nice job. However, I'm an advanced armature, not a professional. I had my own personal color darkroom, then Photoshop/Bridge, and NIK which I still use occasionally. My intention is to rely on Capture One which I purchased about 90 days ago. I would have appreciated a SIMPLE, here is how you load (Import) an image, "save" or "save as" and how to simply export an image (Variant). Yes those items are covered but, David has a tendency to casually and very quickly jump from Tool Tabs or Cursor Tools or the Tool Bar and then magically it's done and he has moved on. How did he do it. Based on David's training, I love the results I get with Capture One Pro. Yes, I know this is not Photoshop - it's much better. I never used Lightroom. I added variant to my vocabulary and I understand all the tools. I still struggle with the simple import, save, save as, and export of a image I worked on and cropped, then trying to consistently open that image as I see it in Capture One Pro. Sometimes it works, sometimes it doesn't and I don't know why. I will continue to re-review the course materials and I will figure it out. I know there is something simple I missed as David navigated the various tools and pull downs. I recommend this class but it does little for the armature. Capture One Pro is second nature to him and he knows all the ins and outs. I would help me a lot if he just add a 5 minute intro, importing an image from a folder, just crop it, then export the variant and open it in Photoshop.

Maria Baptiste
 

I recently purchased Capture One because I needed a RAW converter that was more dependable and also more reliable when it came to shooting tethered. I also noticed that many of the photogs I follow really enjoy using Capture One and rave about its efficiency. After looking at a few YouTube videos I decided that I needed something more thorough and of course CreativeLive delivered. This is an excellent course and David Grover is a superb instructor. His in depth and thorough knowledge of the software is obvious but his manner of speaking and the simplicity with which he provides directions makes it easy to learn Capture One and lets you appreciate a sophisticated and expertly engineered software. If you're working with Capture One 11, layers is a little different than in version 10 but otherwise everything David discusses is the same. I thoroughly enjoyed the course and will continue to refer back to sections as needed. Thank you Creative Live and David Grover!!