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Luminosity Masking

Lesson 15 from: Get The Most Out of Your Photos With Capture One Pro 12

David Grover

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Lesson Info

15. Luminosity Masking

The luminosity mask tool adjusts images based on light, applying the masked effect to just the shadows or highlights, for example. Master this more advanced local adjustment to fine-tune the photograph.

Lessons

Class Trailer
1

Interface Overview

04:08
2

Customizing Your Workspace and Keyboard Shortcuts

15:55
3

Making Your First Catalog

07:02
4

Importing Your First Images

11:51
5

Virtual Organization

20:21
6

Basic Tool Behavior

13:32
7

Starting Approach to Editing

24:02
8

Next Level Editing

20:10
9

Color Tools Overview

16:28
10

Basic Copy Paste Workflow

10:40
11

Basic Export

13:32
12

Getting Started on an Edit

05:13
13

Adding Layers to Your Toolkit

10:25
14

Radial and Linear Gradients

08:21
15

Luminosity Masking

10:12
16

More Advanced Layers

22:44
17

Removing Simple Objects and Local Adjustments

14:52
18

Advanced Color Edits

05:31
19

Using the Color Range to Select Just What You Need

05:45
20

Editing Colors in General

03:48
21

Editing Skin Tones

14:30
22

Combining Color Selections with Layers

08:58
23

Creating Masks From the Color Editor

10:28
24

Color Grading with the Color Balance Tool

16:34
25

Intro to Second Day

01:37
26

Session Overview

05:47
27

Tethered Basics

05:04
28

Setting Up Simple Sessions and Setting Naming Conventions

10:11
29

Controlling the Camera

05:08
30

Handling Next Capture Adjustments

07:39
31

Using Live View Focusing and Overlay

19:40
32

Selecting Images and Using Smart Albums

14:55
33

Saving a Session Template

03:51
34

Overview of Process Recipes

05:28
35

Tokens Overview

26:21
36

A Simple Round Trip

14:04
37

Sharpening Workflow

08:06
38

Creating a Recipe for Web Output

15:50
39

Selecting with a File Name List

11:46
40

Using Plugins and Sharing to Clients with PRODIBI

06:06
41

Image Review 1 - Sometimes Simple Works!

08:44
42

Image 2 - Radial or Gradient Masks, Object Removal

07:28
43

Image 3 - Keystone Tool and Aspect Ratio

09:11
44

Image 4 - Using Styles in Capture One

10:04
45

Image 5 - Black and White

09:13
46

Image 6 - Landscape

07:22
47

Image 7 - Portrait

05:06
48

Image 8 - Action in Lowlight

07:46

Lesson Info

Luminosity Masking

so luminosity masking is a little bit more involved. So if we go to this collection of images here and have a look, okay, so let's remove this one. Luminosity. Masking first requires you to create a mask for it to apply constraint on and to explain. The luminosity mask essentially creates the mask based on luminant values in the image so we can ask capture one to constrain the mass to just the shadows, for example, just the highlights and so on. So we need to have a mask first before we can apply those loomer constraints so we can do this in two ways. We can fill the image with a mask first or weaken, draw a masking and then apply constraint to it. So I'm going to click on the plus and hold this time, and you'll see we have some other options, like empty layer and field layer. So empty layer is what we've been creating so far. So just giving us a layer that we can start to brush in filled layer if I choose this impressed him. This feels the entire lay with the mosque, and there's a cou...

ple of different things we can do with this, but it's very useful for luminosity masking. So now that we have this mosque, we can then put a constraint on it based on the luminosity values. So right up above here, you'll see a button that is called loom arrange. So if we click this, this opens the loom arrange to like so on. What we start off with is basically RGB values from 0 to 255 at the top. Sorry at the top. So shadows down this end much like a hist a gram and highlights up dissent and then the fall off down the bottom. So, for example, if we just wanted Teoh limit our master the shadows, we could bring the top one up and then gradually constrain it down. And then now we've only got a mosque in the shadow areas, like so the two, If you like tags at the bottom, they control the fall off. So how it bleeds into the surrounding tones. So if we move this right underneath, it gives us a very hard fall off. If we drag it out, it softens the fall off. Now we can see the mass changing as we do this, but it's actually a little bit tricky to see exactly what's happening on the image because we're looking at the mosque and we're looking at the image itself, so that's a bit hard to visualize. So if I can't sell out of that and we're going to turn on a really handy thing called Grayscale Mosque so you can see it down here with the same options. It's drama asking a raise mask and so on, and it's option him or about him. So if you remember em to show and hide the mosque, if I do, option him gives me a great scowl mosque. Now, right now, it's completely white because the whole layer is most so white. Areas show you where the mask is. Black areas show you where there's no mosque. So now if we go back into bloom, arrange and start to squeeze down, say, the highlight two bit. We can now see exactly which areas that we're gonna mosque. So if I wanted to just target the mid tones, then I could do something like this. So now the areas and white like the buildings here. These is where the mosque would be applied So the Lumia range tool is saying, Don't touch the shadows. Don't touch the highlights in this case. Now you can see. Right now it's sort of it's a little bit crude, like the edges, a kind of clumsy in the heart. And that might be OK for some adjustments. But sometimes, like if we apply this mosque now free, press him to bring it back. When we start, say, adjusting, it's not actually too bad. But sometimes you want the mass to be a bit softer, so it's less obvious, or we want it to really wrap around edges quite tightly now, like the radio masks the radio one in the linear one. We can always go back in and change the luminosity ranges, so all I need to do is hit the loom, arrange button once more, and we're back into the loo. Marines dialogue. So let's turn on a great scale mosque option in, go back into the loo Marines dialogue and look it underneath these two further sliders. So we have radius and sensitivity by default. Radius is at zero, which means this slider will have no effect whatsoever. So radius is kind of going to control the effect or the strength of the sensitivity slider. So if we bring up the radius slider to a certain level and bring sensitivity down to zero, see, the mosque is now really soft and fluffy. So it's like feathering a mile skin photo shop very similar. If we bring up sensitivity away 200 you could see how it wraps really tightly in it to really high quality mosque around those particular edges. Again, White is Theo areas that's going to be affected by the mosque. So if we just wanted to do mid tones, for example, we could just squeeze this down, and you can very easily see exactly what's gonna be affected. If you want to turn the mask off for any point whilst you're playing around, we can turn that off. Just if you need to refresh yourself what the image looks like. You can turn this check box on and off like so Okay, so let's see how we do in there looks pretty good. So let's say a ploy. I am again to get rid of that mosque, and now any of our red. It's our only on that luminosity range. So in this case, it was kind of just the mid tones. So if we want to just drop the mid toned down a bit as it was a bit strong, weaken do so quite nicely. So it gives you, you know, loads of control. And it's not something which you should start thinking. Well, that's really cool. It is called, but it's not like you suddenly have to think I've got to do this on every single image. Sometimes it lends itself really, really well. Other times it's may be overkill to use it, and it's easier to draw her just by hand. So we created that luminosity masked by filling the layer first. But you can always apply a lunatic in strength on any other mosque. So if we go to this shot here, for example, let's just clear the test one I did. So we've got these two guys here and let's say we just want to lift the shadows a little bit, So if we go to our high dynamic range tool and we lift the shadows, if I just push it harder, you can see exactly where it's happening on the image. Now I want to raise the shadows here a little bit, maybe on him. But I don't actually want it to effect the sides here, so I want to target it a bit more closely. Or perhaps I just want to target target it on the box of here. So what I can do, rather than starting with the new filled layer, are just grab my brush dramas brush, zoom in a little bit, Gonna make this a little bit harder. So right click to get up the parameters. And I'm just going to draw roughly around like so. So that's my mosque. Option him. That's the Grayscale Mosque. So why is where I've just mask? And now if I snap on Blue Marange, I can then start to just limit at mask to a particular particular range. So you see, is I reduce it down. It starts to just snap quite nicely around the body of the box. And now I've gotten too far there, so I can just back that off a little bit on Open out the fallout somewhat Now again, it's still a little bit crude, so it's not snapping quite nicely around the edge. Eso What I'll do is I'll bring up the radius and the sensitivity, and you see it's now Mars quite nicely around that boxer. So if I say a ploy, press Emam, a keyboard can see the mass popping on off like so and now, if I bring up the shadows, it's targeted really nicely just on him. So that would have been quite difficult to do by hand. But it only takes a couple of seconds to do it by the loom. Arrange now. If I started to brush in wherever I brush, it's gonna follow those loom arrange constraints. So if I just wanted to open up the shadows over here, for example, you see as I brush, it's dots lifting that up like so because it's now affecting that zone. And again, if I go Eva a raise, then we can take that away. Like so Now you probably noticed that when we start brushing in, it looks a bit crude. It's like all or nothing, so that's not necessarily the way we want to do. Local adjustments gotta look subtle and natural. So as we do Morvan stuff, you'll pick up on ways how to make it looked like there was no master. It'll cause you should look at this image and you shouldn't see my sort of big, obvious brush flat around the edge here. It should be really nice and natural and shouldn't look bad like that. So we're going to show techniques, help to overcome that, too. But a simple way to drop that mask on their video option m loom arranged just really helps with that. And certainly the grayscale mask you just get rid of that just helps you see exactly where your mosque in as well.

Class Materials

Bonus Materials with Purchase

Windows Keyboard Shortcuts
Mac Keyboard Shortcuts

Ratings and Reviews

Leon
 

This is a superb course. David is an excellent teacher. I'm coming to the end of it and have learnt so much. I've been using the software for a year, self-learning as I went along. I had watched the odd David Grover video on YouTube, but never got much further in my understanding of the software. Capture One is brilliant software and to do it justice you need to learn it properly from an expert. Highly recommend this course if you want to produce professional results.

lakiut
 

Excellent course and a very engaging speaker. If you are starting with Capture One 12, this is the best class to take. The lessons are presented and explained in an organized way that it shortens the learning curve. Thank you, David. Cheers!

Jino Lee
 

One of the best course I've purchased. Very helpful and I learned so much more with this course and in a short period of time, than all the official Capture One You Tube videos put together! Anyways David Grover is the same guy who does the Phase One C1 official YouTube videos, so there's no better person to conduct this course than him! Truly excellent and if you think you know all about C1 Pro 12 interface, wait till you watch this course.

Student Work

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