Image 4 - Using Styles in Capture One
now styles and capture. One is kind of if you like a preset, which you might know from Light Group, for example. So capture one has styles and presets, and it's important to know the difference between the two. So in capture one terms, a preset is a tool presets. So if we go to the exposure till thes air exposure toe presets because they only effect the exposure toe itself. So that's a preset in capture. One style, which we confined from the adjustments tab here, is a combination of all those different presets, so it could be an exposure pool, the color balance change, a curve change and so on. So a style was really a collection of preset. Now there is some built in styles, as you can see, and there's also a number of companies capture, one included who sell different style packs, a swell which you can install and use. Now, the unique thing about styles in capture one is once again you can apply them as a layer. So if I go down this list of styles head, this is the PAC called Spring, w...
hich is included by default. So as you roll over the different styles. You can see the image changes straightaway, giving you an impression of what it could look like. So I think I might like to try this one spring number eight, but it's a bit too heavy. It's kind of doing mawr than I would expect it to do. If I click on it once you can see it's shown that I have applied this style spring Number eight. If I hover over it, then it gives me this kind of summary of all the different things that's going on in this style, which is quite a lot now. It's a bit too heavy handed for me, so I'm going to right click and say, Clear that will remove that style. If I go back to spring number eight and right click, I can say Apply it to a new layer. So in one action, capture one will make me new layer, fill that layer and then applied the stylus well. So let's say a ploy to new layer. If we look in our layers till we can see we've got spring number eight, and like any other layer, I can apply or change the A pass ity of this. So I think this is a little bit heavy handed, so zero is no style. The 100 is maximum of that style. So I'm gonna settle. Let's start, because I might change it later with something around here. So now I go through my normal process, see for crop and let's crop this a little bit better. Perhaps something like this press H. Let's get rid of our viewer labels is it's taking up space and think about what we can do next now because we're looking through a car window, I'm guessing it's kind of dark and offer face a bit too much on this side and her eyes almost like two different density. So it's a bit uncomfortable to look at. So what I'd like to do is just brighten up this side. So it matches not perfectly, but a little bit closer to that side and remove some of that hates. So I'm gonna make a new filled layer one small, and let's cool that lighten again at home. I would do hell for short and think about what kind of adjustments that we can use, so I, in this case, would be tempted with using the curve on a loom occur because I don't want to mess with the color too much. Don't know saturation to change. I just want to lift it a little bit. Now if I hover my cursor on a cheek, we can see it's kind of sitting around kind of the mid tone. So I'm going to take a point around here and just lift that up a little bit. So if I turn that layer off, I'm pretty sure it will do a better job off equalizing the two halves of the face. Now I don't reply over the whole a recourse. I'm going to right click and say Clear Mosque like, So grab my dramas, brush, zoom in a little bit and we're gonna make this nice and big and soft and we just do a little bit of lightning over on this side, like so. So I think that's pretty good if we turn this off so you can see before and after. Maybe it's a bit too much, so I just instead of going back and choosing the Rays tool and changing it much, much easier just to go to the A pastie slider and take this down to somewhere in between like suck. So if we zoom back out, let's see where we've got so far. So option. Click on reset. So that's before. And that's after, uh, this time I do want tohave a new empty layer. Then we're gonna call this radio because I know it's gonna be a radio mosque. Grab my read your master or tea on my keyboard, and we're going to do something. I think around like that. So no, a perfect vignette, but something that's a bit more random, so m so we can see the mosque and I'm gonna drop down the exposure. And also because we got this highlight going on up here, I'm going to try to just bring the highlights down quite a bit. So that would just knock that down and also take out the saturation So it's kind of d Ceta rates D. That's a hard word to say. D saturates the edges as well, like So now I get the feeling this is sort of got a bit of a vintage feel to it. The focus is slightly off, or there's a little bit off camera shake, so there's no point throwing in tons of extra sharpening. I don't think that makes picks any sense, but it might look quite nice with some film grain attached. So if we go to the film Grain Tool, I'll bring it out now. A slight caveat about the film Grain Talk is that it doesn't work on the layer, so you can only put film grain on the background layer. It's just a technical limitation, apparently so we have five different types of film. Grain. On what's different about this film grain tool in Capture one is that it does a really good job of emulating the real thing. So a lot of applications that promise to add film grain. It's almost like an overlay on top of the image. Now, if you're actually shooting film, the film grain structure varies whether you're on shadows, mid tones or highlights, so the grain structure varies a bit. So when we add film grain to an image, capture one. It's actually reacting to the image underneath, and it looks much more natural. So let's try, um, silver rich and we have two sliders impact and granularity, so impact is almost like the A pass ity. So the greater the impact, the more obvious the grain is like so so zero No grain, 100. Very obvious green and granularity. You can probably guess is hell chunky. The grain is from very fine to something that's much harder. So it's just a case of playing with those two to getting ah green effect that you think you might like their recent presets as well. So you can always dive through those presets and straight away you'll see the various different grain types. So also means if you find something that you like, So if we just go down these and think actually, let's Troy this one silver plus I think looks quite nice. Okay, So that silver rich with a relatively high impact and low granularity So I've won it slightly more greeny. So I just put that up. That's a really sort of super nice soft grain. Okay, um, do we need to do any other things? Pretty much. I think that's really good. So, um, what I might do? I'm gonna go back to my lighten layer. I think I went a bit too low on the opacity, so I'm just going to bring that up back up again. I feel that I feel that's better. And also, if I bring my brush back and make it a bit smaller just gonna lighten up This are the eyes in touch as well. Okay, so if I hold my option key down again, click on reset, then we can see before and after like so, so quite a bit different. Let's also put them side by side. So we make a new variant. We can see the one we just edited and how it came out of camera. What? It's moved. Film Green Help the way. Uh, what's up? If we want to see both at full screen shift, click your plus button up here and then they're both going to go, and we can see the impact of the grain in that respect. But yeah, it's funny again we by cameras which have super amazing qualities that higher so and then we go on, throw grain back in again it in an application, but it works really nicely and capture one. So if you haven't tried the film grain tool, I'd thoroughly recommend it