Lessons
Class Introduction
14:41 2History of Capture One
11:50 3Dave's Capture One Workflow
07:03 4Licenses, Versions, Keeping Up To Date
05:27 5How & Why to Upgrade
12:15 6Workflow Organization Tools
28:57 7Raw Files & Sidecars
13:46 8Sessions & Catalogs
19:23Why Shoot Tethered?
15:55 10Tethering Styles & Presets
10:30 11Adding Capture Folder To Session
05:27 12Studio Tethered Shooting Demo
14:53 13Nino's Post-Tether Workflow
06:34 14Color & White Balance Adjustments
23:01 15Clarity and Retouching Tips
05:29 16Layers and Local Adjustments
12:59 17Capture One vs. Photoshop Workflow
11:14 18Dave's Post-Tether Workflow
15:13 19Overview of Tools
09:17 20Using The Color Editor
04:11 21Using Capture Pilot
09:51 22Capture One Styles
10:21 233-Way Color Balance
04:00 24Creating a Color Mask
03:12 25Skin Tone Adjustment
06:59 26Advanced Color Mask
05:07 27How to Make a Smart Album
06:02 28More Ways to Sort Photos
12:47 29Histograms
10:09 30White Balance
05:47 31Color Balance
10:07 32Exposure & Highlights
06:45 33Levels & Curves
10:19 34Clarity
04:07 35Vignetting
01:44 36Lens Correction
04:43 37Keystoning
05:06 38Chromatic Aberration
04:05 39Lens Cast Correction
12:08 40How To Fix a Dirty Sensor Image
03:50 41More Ways To Use LCC
02:52 42The Crop Tool
06:34 43Rotation & Flip
01:59 44Advanced Keystoning
04:05 45The Overlay Tool & Navigator
02:23 46Focus & Sharpening
04:14 47Noise Reduction
03:43 48Adding Film Grain
04:09 49The Spot Removal Tool
05:53 50Adjustment Styles
03:51 51Keywording & Metadata
03:40 52Nino's Outdoor Image Workflow Overview
56:57Lesson Info
3-Way Color Balance
the three way color balance. Aesthetic reasons is great, but it's also could meet for perfect reasons to get an accurate because I don't rather make it a big curve and the way we used to do it. I used to have to come into my curves and bring my red curve up and change my red curve to get it. Right now it's so much easier in three way color balance color editor to nail those colors. Precisely. Advanced tool. I go past the global color at it typically, and I go to advanced. Um, this mushiness of color is mushiness of orange again. Some of them are so saturated that it really to me it was it accurate to begin with it and on Honestly, um, it's OK, but not necessarily. If I select that orange and you'll see that orange selected, I'll pull that edge down to make sure the full range I'll grab that yellow. Now go back to show you what I did. I always go view select color range, so I know specifically what I'm what I'm holding on, too, and I'll pull that yellow back and still I just get the ora...
nge and you see, that's pretty close to just getting the orange. That's one way to do it now, pulling that saturation back a little bit, right, the lightness back or the saturation back. So let's go ahead and pull that saturation back just a little. I did it to the extreme, may be there, but it is better to do it to the extreme while doing it in front of groups. So you see what it did so that Bush to something that's that's better, right? So that's better. But now it may be put the saturation back a little bit. Not so, so much. But in fact, that's a slight minute change to that color. That gives me a more pleasing color and more separation, more separation in the image and one of the color. Oftentimes colors blend depending on camera, that I have that camera setting that that camera is designed to make that pleasing image rather than that accurate image. And if I want that accurate image, I need to go in and play with it, so we'll see the how to really nail those colors really accurately. The color. It becomes a really important tool. We can do it again by selecting the green has named, Nina was saying, selecting a green, saying, There's my greens. How powerful is why this is so powerful? Why the color editor is so powerful is that I didn't do a mask. I don't have to write a mask. I didn't have to go in slowly circle and slowly select. And it grabs a mass by the color and color only by which I select not gives me incredible amount of strength, plus no hard edges and no bleed over into, you know, hey, lowing or even exactly. And so again, is that to Saturn? I often find that I want it a little bit, a little bit lower and lightness a little bit lower and saturation. So the thing that I'm selling stands out more, and actually that speaks to retouching in general in color work. In general, more saturation is almost always the bad choice. I mean, accurate and Christmas. Fine. Too much saturation is the most common basic amateur sort of retouching ever likened it down a little bit. It's as if I could have my small little grid sets right and a little reflectors, and I'm actually changing that color and blinding for that one color. And so for accuracy. I can't tell you how much I enjoy thinking outside the box and saying that color editor I can use in a lighting center where I can't like that way. But if I do, and later, I could grab that color, select and bring it down. Now, if you think about this right, your whole styling of the subject can be can be done differently because once you put the styling of it together, you could do complementary colors by styling your product. And then you can light up that subject that that is just that one color and bring that light up so that product seems to glow outside of its setting.
Class Materials
Bonus Materials with RSVP
Bonus Materials with Purchase
Ratings and Reviews
Jesse Furqueron
Yes, per some other reviews this started slow. What turned me off was the sales spiel for the class. It also came across as a sales schtick for C1, which is ok given the presenter. Stuck with it (well most of it, had to step away at times) and found it useful. I've had my eye on C1 for a LONG time. I'm not a pro, but would consider myself a pretty serious amateur. I document old mining and narrow gauge steam engines, general travel and now do our product photography (started a new company, so all $ goes to that rather than C1, which I would LOVE to own after seeing C9). Went with Aperture back in the day because of its cataloging and price. Back then C1 didn't have cataloging, though it DID have a 2 tier price structure...(Phase WHY did ya'll do away with this?????). Back to the class. After lunch on the first day I think they found their stride. Second day, especially Nino in the afternoon was quite good. That was probably my fav session. Seemed like most questions came from the in-studio "captive" audience. Expected more from the web? Constructive feedback. 1) Could have condensed things down quite a bit. I liked the more casual approach it took later on first day and on the second day. Dave especially seemed more at ease. 2) Ya'll (Dave especially) seemed to have his topics scripted out. Given the two day nature of this, would have been nice to give the attendees an idea of agenda/timeslots for topics up front. If an agenda/timeline was presented...I totally missed it. But then, I couldn't back up or rewind the live stream when I had to step away several times... if I paused it jumped to the realtime stream :-( 3) C Lve was pushing the "free trial download"...isn't there already a trial download from Phase? What value are ya'll offering in this area above what they offer? I found this annoying, if there's an extended trial period or something through ya'll cool. If not...I'm back to the annoying aspect of it. 4) Nino, get a Cintiq :-) If C1 doesn't have a profile for Cintiq (I'm going to download the trial from Phase) Phase you need to add support for it. 5) Dave's material he presented should be in vids on his website to help him expand his C1 market..fantastic selling tool there Dave....or even better....embedded in the product itself (ala SilverFast). Phase, you listening? 6) Nino, given he's coming from a different angle, eg no skin in selling C1?, he could do a 3-5 hour intensive vid(s) and I'd pay something for that. YMMV but I liked his approach and presentation. Was disappointed no C1 on his YouTube :-( Would I pay 99.00 for this class? Honestly, no. We use 3D graphics (ZBrush) and CAD (Rhino) in our company and have been learning those over the last year. To compare. There is another tutorial company whose name I shall not mention (no, it does not start with an 'L') that specializes in vid classes for those and other 3D products. They structure their offerings on a AFFORDABLE monthly/6mos/yearly all-you-can-eat fee structure. Much more consumer friendly, and quite honestly their videos are very focused and about 4-6 hours per course. I don't see myself paying 99.00 much less 129.00 for just one course like this (especially with the sales spiel content) when other companies have a more customer friendly consumption model. A value for the $ thing. In the end I did learn some things, and I'm glad I watched what I could of it. And yeah, I'm pretty sure after this review I just got taken off the free C1 license contention list...but I'm just being honest...Dave, I will be ordering some of the LCC pocket accessories if I ever get C1...those were cool IMHO. C1 has come quite a ways. When I can, I'll add it to our software arsenal.
ira potter
I have been a user of Capture One for a couple of years but have strugled to get my head around the way to use this software as my chosen raw converter, I love the improved quality that Capture One gives me but always seem to end up scratching my head and going back to Lightroom to save time. I haven't been able to watch the full presentation due to time difference, (I am in the U.K), and other commitments but I have learnt so much in the time I have spent watching that I can finally see me waving goodbye to Lightroom in the very near future. The presenters are excellent teachers, they are funny, engaging and thanks guys you really have made a p[ositive difference to how I interact with Capture One software.