Export Strategies and Proofing Previews with Process Recipes
So if we look at process recipes, we can do pretty much everything that we saw with the simple file, export, but it's much more powerful. And we can use a great feature in Capture One 10, which is recipe proofing. Which allows you to visualize within Capture One exactly what the export is going to look like. So if you remember, when we processed out the earlier lesson with Jeff. We made this quick process recipe, which gave us, gives us, a .JPEG, two thousand pixels on the long edge, like so. Now really we've got no idea how that's going to look on my export. And when you reduce the size of an image, what's gonna happen is that you get a negative effect on the sharpening. So when we drop that size down we can potentially lose some sharpness with that image. So what we can do is if we zoom this image to 100% Like so. We've already applied some sharpening with our sharpening tools. Remember we did that locally, so there's no sharpening on the background, but we popped in some additional ...
sharpening on that layer, like so. And we're now looking at this at 100%. But this particular Process Recipe is actually going to scale it down to two thousand pixels across. Which, potentially, will give us a negative effect on the sharpening. So if I click this icon here, the two spectacles, or the one spectacle, rather. By default in the default workspace it sits over here I just moved it across, I find it more convenient. If we turn that on, Capture One will immediately proof to the currently chosen recipe. So now we're looking exactly at this two thousand pixels across. We're visualizing the .JPEG compression, and the ICC Profile as well. So this is exactly how it's going to look on export. No guess work whatsoever. And the benefit of that is, First of all, we can actually, probably, drop down our .JPEG compression quite a bit, without losing quality. Whereas before we really had, kind of, no idea how that compression was going to influence it. So if we drop that right down to zero, you can see it starting to get a bit rough around the edges. So if we just pull up that quality until we get an acceptable level, probably around there. But it also means that I'm making a smaller .JPEG now, because I can really get the best quality to size sort of ratio. I obviously don't want my .JPEG to be too big, because if it's going on the web, It's gonna load up faster if it's a smaller file size. So we can really balance the quality against the file size. And in the Process Summary, we'll actually get a rough idea of how many kilobytes the image is going to be. Like so. So let's go back and continue sort of proofing. So we're happy with my .JPEG quality compression. We're seeing it as exactly two thousand pixels across. We've got the proofing warning at the top. So we know we're proofing as well. If we go into adjustments. You saw here we got an additional category for output sharp. So right now there's no output sharpening, it's only using the sharpening that we did in our local adjustment. But what we can do is add some additional output sharpening for screen, for example. And this opens up a few more basic sharpening sliders, which we can then use to add some additional sharpening if we feel necessary to give us a bit more extra pop as such There's also output sharpening for print. Where we can actually put a distance in that we view in the printer. Either in inch or centimeters, or a percentage of the diagonal as well. So that way, we get optimum sharpening for viewing a print at a certain distance. And the final option will actually disable everything. Which again is often a good choice for retouch if you want to hand off the file, but strip all the sharpening away. Then simply choosing, disable all that, will take all that sharpening off. So very good when you're going to retouch if the retoucher has specifically requested that don't sharpen the file. I will handle that in the post production phase. But it's quite nice to be able to visualize that sharpening as your working so that the client is happy, and so on. Let's do a little bit extra for screen, like so. Also just to note to sharpening as well. You'll also see in the Lens Correction tool that there's a checkbox here called, Defraction Correction. So if we turn that on, we can also visualize if that's helping as well. And what Defraction Correction does is to help compensate for smaller apertures when we shoot. So if we shoot at very small apertures it can have a softening effect on the image. So that's something that we can also decide whether we want to have on or off. Turning it on does mean it takes longer for the image to process. And it's really only useful for much smaller aperture shots. But again we can visualize that with our proofing. Metadata, the same as in the export as we saw before. And also we can add a watermark either through text. By just adding some basic copyright text, or through dragging and dropping an image like your company logo for example. So now I'm perfectly proofing this. So it looks great and I'm happy with that. And then we're sort of ready to export. The only thing you really have to remember is that when you want to proof your export. Set to 100% first in the zoom value, then click on the Proof You Icon, and then immediately that will give you the output. If you make adjustments to, you know, anything else. It might be ever so slightly slower, because we're, you know, making those adjustments on the fly, as well. So we've proofed pretty happily, we can turn that off. We can fit back to screen if we wish, and then output location, like we did in the basic one before. We can choose a token to divide up by Sub Folders. Now remember when we shot into a session earlier with Jeff, by default, everything goes into that output folder. In a catalog you have to choose that destination. So if we just choose a folder, let's go back to pictures, let's just pop it into my exports, like so. So that's set my output folder. I can add an additional Sub Folder with a token again, if I wish. So let's just quickly run that export. So I can do Command+D for example. That will process out. You also get the process icon spinning up there if we want to go to my exports quickly. There's my shot, nicely proofed to two thousand pixels, like so. Nicely sharpened for screen for that particular output. So let's have a look at some of the other options that we've got in Process Recipes, which we've looked at briefly. And don't forget to make a new Process Recipe. You can just hit plus down here, which will give you a new recipe. If you want to get, you know, rid of a Process Recipe at any point. You can just hit minus and it takes it away. So if we look in the File tab. Let's look at some of the other options. Now again, if you remember earlier when we were shooting directly tether capture with Jeff earlier, the defaults mean that generally, everything is always arriving to the output folder. When you're working in a catalog by default, the file tab here, will tell you to go and look at the Output Location, and that's where the images will end up. But specific recipes can also go to specific destinations. So you can have individual recipes going elsewhere. So if for example, this recipe you wanted to post somewhere else. You can simply select a new folder and that recipe will have an individual output location. Now that can be useful for lots of reasons. I personally have a recipe, which goes straight to my Dropbox. Which is really good for sharing with clients as well. So if we wanted to make a Dropbox recipe, we can say, Plus. Let's call that Client Dropbox, for example. And in the file tab we would simply select that folder. If we just pretend I have a Dropbox here. A Dropbox like so. And then that particular Process Recipe will go straight to that location. So Process Recipes are not limited to that global location, which is set here in Output Location. Really handy. Also you'll see here, we've got Image Folder. So if you choose Image Folder, it will return the output directly along side the original RAW file. So if you always want to keep your RAWs and .TIFFs or .JPEGS or whatever in the same place. Just choose Image Folder, like so. So if I click that. That takes me to the Image Folder of where that particular RAW file is. We can also, again, add sub folders here as well. Through the use of tokens, if we wish, as well. So if you use a token in the Sub Folder here. This is where it will stat building, and then if you have another Sub Folder token here, it will continue on from there. I mean that's getting, sort of, pretty deep into the possibilities of Process Recipes and generally, probably most of you, won't need to go to such lengths. But there are cases where, you know, E-commerce, very high pressure situations, lots of exports flying out the door. That we really need to be very specific about where we post those different exports. So adjustments we saw ignore crop the proofing. Metadata, we saw in the Process Recipe before. And watermark, we know about as well. There's one final thing that, for export, which isn't necessarily handled by Process Recipes. But just so you know it's there. If you right-click on an image, and you want to bypass Process Recipes, and the basic file exporter. You can just say, Edit With, after right-clicking. And that means you go straight to another editor like Photoshop, for example. So we can choose basic file types here .TIFF, .JPEG, and so on. And then what that will do is create your export, open it in Photoshop, and place the .TIFF or the .JPEG alongside the original RAW file. So like a roundtrip process, basically. And that .TIFF will be automatically added to the catalog without you having to import, or automatically added to the session without you having to import. And you have the same possibilities with adjustments, as well. There is no limit to the number of Process Recipes you can have. You can just keep adding them, making new ones. Deleting them and so on. There's also no limit to the amount of Process Recipes that you can have triggered. When you start the process. Just use as many or as little as you need to satisfy your needs.