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

 

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

 

Lesson Info

Skin Tone Adjustments

So, I mentioned, we have the skin tone tab as well, which looks pretty similar to the advanced tab, but it has down the bottom here, three additional sliders, called uniformity. So, what the uniformity sliders do, is that they hope to take a range of colors, and make them uniform, funny enough. So, what we do, is we just, we switch. We go to the session, that we did with... Jeff, just earlier. And then, we use one of the shots, to show exactly what that can do... If we just bring back up our color editor, like so, and go to skin tone. So, the process is kind of similar, to what we want to do. Generally, what we are gonna do, is when we work with skin tone, is we're probably gonna do it on a local adjustment, and I'll show you why, by doing it, without a local adjustment, first of all. So, the skin tone, or the process of the skin tone tab, kind of works a little bit differently. We have a picker here, once more. And what we want to do, is we wanna look on our subject, and decide the sk...

in tone, that we want to be uniform. Because, none of us have totally perfect skin tone, unless you're extremely lucky. We all have variations, around the eyes, on the neck, whether we're hot, cold, or whatever. Nobody normally has a totally perfect skin tone, even with makeup. Because makeup, they might miss a bit, or just sort of down on the neck, or whatever. It's very rare, that it's perfect. So, first of all, we look at the subject and we think, where is our good skin tones? Like, what do we want to make uniform, across the whole subject? So, if I sorta pick around, let's go there, then straight away, in the color editor, that shows me where I've picked. And once again, a suggested range. Now, what we're hoping to achieve, is everything within... This range... When we drag those uniformity sliders. So, everything within our boundary lines, when we drag the uniformity sliders, will be converted to the picked color. So, what you have to think about, in this way, is perhaps wanting to extend this, to encompass all the possible skin tones, in the image. And once again, you can do that, with turning on view select color range. You can see exactly what we're gonna make uniform, which might include stuff that you don't actually want to affect, like lips, eye shadow, that kinda thing. So, I'll show you what happens, if we don't use a local adjustment. So, we've got hue, saturation, lightness. So, as we drag the hue to the right, everything in this range gets converted to that picked point. So, drag this across, and straight away, you can see the conversion, but it's also affected the lips. Saturation... We can make uniform, too. Lightness, you have to be careful with this one, because it can... Then look a bit over the top, Instagram filter, if you go too far. But, that will basically make the lightness of that picked point, again, anything in that range will get converted to that lightness. So, it can help adjust, for variation, and density of skin tone, but you just have to be a little bit careful. Now, if we option-click to see what happened... You see its affected areas, that we don't want it to happen. So generally, when we're using this skin tone tab, is that we draw a mask, first. So, working with masks is coming up in a later lesson. So... I'm just gonna do it quickly, without too much detail. But, what we will generally do, is just do a quick mask on the area, that you want to affect. So, if I do an outline, like that, then we can use a nice shortcut, which is fill mask, so that will block everything off. Then, I can erase out the bits that we don't want to affect. You would probably spend a bit more time doing this, than... I would. But, roughly, we would end up with something like this. And then, we would take our color editor skin tone tab, do the same process, pick within the mask. And then now, because we're using a local adjustment, we can be a bit more aggressive with expanding out that range, because we know we're only going to affect what's going on, within that particular mask. So now, if we drag hue across... Saturation and lightness. Then, it will do a nice job. And if we turn local adjustments on and off, then it's only affecting the areas of our mask. And of course, if we want to dial that back a little bit, we don't have to go to 100. If we wanna have... Some semblance of the natural variations skin tone, we just drop that back, a little bit. So you'll see, as we drag the slider, we go from how it was captured, to the complete uniform tone. And if you want to, you can even pick up the picked point, and drag that to the skin tone, that you actually wanna emulate. So, if I just do a drastic change, that will give you an impression of exactly what this tool is doing. So, everything in that range is being transformed to that color, which is something we won't wanna do. So, we put it towards a more natural skin tone, that we want it to have. And then, of course, change the sliders. Then again, the same sliders here, we could drop, change the saturation. We could change the density. But, these are a little bit more subtle, than what's going on, in the advanced tab. Their affect is just dialed back, ever so slightly, so just to make them a little bit more subtle. Again, you've got the same smoothness control again, but once again, as we were working on that, in a local adjustment mask, you generally don't have to worry about that too much. So, just be aware, if you wanna use the uniformity tools, then you might have to do it, in a local adjustment. Now, it is designed for skin tone, but there's no reason why you can't use it on anything else. So, if you think of what we've got going on here, we've got this blue sky, but it's slightly more dense over here, than it is over here. So, if we grab the picker, like so... Probably expand this out a bit... And then, drag hue, saturation, lightness, and now I've made a uniform blue sky, simple as that. You could do that on various different things. I've seen people use it on landscapes. If there's some variation, in greens, or browns, or whatever, just to pull all that together, sometimes, if you have the sea, the sea can vary its tones, so we can move that together as well. So, it doesn't have to be skin tone. It will make any color uniform. And if we drag this around, we can just change... If we pulled that all the way around here, and move that over there, then we can really sort of do... Quite different manipulations as well. So, the sky is the limit, really. Hue, to the nature of how color works in Capture One, it's all based on ICC profiles. It's very, very unlikely, you're gonna get weird effects, like posterization, and odd stuff going on. There's no limited color space, within... Capture One. It's to like Capture One has a working color space of... Profoto LGB, or Adobe LGB, or whatever. It is the maximum gamma, that that particular camera allows. So, we have all the scope of that particular sensor and such. Any questions on that, Jude? (clears throat) Yes, David. We do have one. Javi Mendoza wanted to know, "Is there any way to stack multiple color selections, "and edit them all together?" No. (laughs) So, 'cause you'd, what, I guess he'd be looking for would be like, link those together, and then do global saturation, or global lightness, or something like that. So, no, there isn't. I'm just trying to think of a way you could... Force that, perhaps. Maybe, within local adjustment somehow. But, I can't think on the spot, for that one. Maybe, if he keeps watching, until we get to local adjustments, that could be it. A clue or two, that we can do in there. Great. And then, second question, "Is there a quick alternate, "to do a quick before and after view?" In the color editor, specifically in any other tool, yes. So, we can do option-click. That will show us before and after... Of all various edits... Like so. And for the entire image, we can either do... Command-R, which will reset, and then command-zed, to undo that reset. So, that will show before and after. Or, like we spoke about, in earlier lessons, we can also see a new variant, like so, which will give us a virtual copy, with no adjustments. And then, we can always put those two next to each other, to see before and afters. But, there isn't a one button push, for before and after, for example. But, it's a good suggestion. Thank you. Okay. Any other questions? We're good. Okay! So, that's... The color editor. Advanced in skin tone. You know, I feel that we could talk for more, about that, but it actually really is very simple, and you shouldn't feel intimidated by it. Just pick the color, decide the range, make the adjustments.

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