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Color Balance

Lesson 31 from: Working with Capture One Pro 9

Nino Batista, Dave Gallagher

Color Balance

Lesson 31 from: Working with Capture One Pro 9

Nino Batista, Dave Gallagher

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Lesson Info

31. Color Balance

Lessons

Class Trailer
1

Class Introduction

14:41
2

History of Capture One

11:50
3

Dave's Capture One Workflow

07:03
4

Licenses, Versions, Keeping Up To Date

05:27
5

How & Why to Upgrade

12:15
6

Workflow Organization Tools

28:57
7

Raw Files & Sidecars

13:46
8

Sessions & Catalogs

19:23

Lesson Info

Color Balance

color rounds. We have a master color balance. So yes, white balance was one thing. White balance was designed to give me consistency and add a little bit of warmth. Now, the color balance we have master three way shadow, mid tone and highlight. Now, one thing that we love about these tools, we can pull them out and we make them really large. So if you want to see them and they're like, Dave, why don't you do this before on these tools? If I've been struggling with learning how to use these tools, why didn't you show me this before? You know what? I could have Not all of them do this, but a lot of the new tools that have been added. You can go and put him on a large monitor. Put aside and make them bigger. Frieder Old. I make more refined allies. Correct old eyes. Right? Right. So take a look at him here. I agree with you that I prefer to make them large here. I'm making as large as I can, but of course, I make them large because I keep him. Keep him where they were down here. So I go t...

o shadow midterm highlight and do it this way. And as you were saying, if we go to our highlight and we add warmth in our highlight will see it change. See this guy go unnatural color. Its not necessarily what I want. Typically. So we have a global color range. You'll see the normal scale. Uh, you said you used these a lot, right? Tell me. Tell me why. Ah, used saturation, right? Or because let's take a look. What happens? The less saturated is towards the middle, right? The more saturated it goes towards the outside of the global double. Click on it to reset poor. Let's see what we do here. All right, this is going to be just for depth. You'll see those color changes hug, You know, for me, what I like don't like that I use a little little tabs on the ground around the circle around the arcs because when I choose that the hue that I want If I moved a little circle, I tend to should go, I move the hue around Once I find the huge I like Then I use the left and right arc to change the brightness and the saturation. So if I move the middle area, I tend to always to pick now is to orange now, remember? Like I was saying yesterday, I don't know if it's possible, but I would love numeric values on this. I can go point to sure I use them. Or lets go into my my minto, where I'd want to use it, I use them or just by grabbing and pulling because then I could do my saturation. I'm gonna use it. I used there are essentially all using it once at this point, right? So I grab it and move it towards that warmth that I like that way and see it So we'll see a huge difference from war from from here to here to see that skin tone. So I grab it and pull it that way again. Leaving the highlights probably highlights nice and neutral and and going in and changing my shadow, changing my midterm but selectively going in and not globally changing it, right? Huge tool for for returning huge tool for me going in and saying yes. This is exactly what I want. I'm gonna go select all select all command a and I'm going to copy and apply that color towards every single one of those images, because that's the color, like, five seconds to do. 440 images, um, for that color and you'll see them change. So they're all there. So they have changed. Whether they've updated the preview inside, you'll see that they have changed that color. So not too bad. That's That's the speed we were talking about before, you know, making that change for 440 images. Make the coach a boat. That was a large large files, right? These air 50 megapixels? Yeah, he's a 50 megapixel thought. They definitely Look, these aren't Yeah, these aren't small, correct 3.5 year old computer, no less than 3.5 year old computer. That's true. That's true color editor, where we're not gonna get into right now because we already really kind of beat that before. Um, I wonder if I should talk about it a little bit? I probably should, But before we go there, let's do them in order. Black and white, Okay. Black and white. You don't use this, do you? Do I do? All right. Thank you. I heard another segment that you don't use it. I'm gonna miss folk, but I definitely use it. I love it. Okay, it's Channel mixer. It's a channel mixer. We have ah rgb image. We have a full color image but being able to come to black and white and change my tone ality and just bring her flesh tone up right Bring her flesh Turn up to give me that milky look But everything else stayed the same are you can't tell you how much this is Love black and whites tonal quality and black and whites do it again Double click on any tool goes back to zero Slide it up and watch her flesh tone just really go smooth and milky to me there's nothing Saturday someone making a black and white by just de saturating I'm like What a waste Yeah, yeah I love this story So power the power behind it that you will see that will zoom out the greens air in the back, Right, uh, doesn't really affect affected the greens as much which is surprising because the back pain so green So we know that the yellows are more so it stays more yellow in the back. Then it's green. It says Those plants have less green than yellow. Unfortunate yellow. She's yellow and her dress is yellow. So it yeah, changing. It's changing a lot more out, so we would have to possibly do that differently. Maybe do a mask into it. But let's say this is for speed. This is not for full retouching. If you want to do some more of that, maybe that photo shop would be where you'd want to do it. This is to get all my images to go black and white to all of them to go speed so I could bring him some rounds. Um, I can't tell you how much I love it. So let's go. Split tones. You said yesterday you'd like to take your shadows said the Why word you like to go. You said in another segment that you'd like to bring your saddles and make them cold. Yeah, I tend to cool off shadows a lot, and I tend to telling my black and whites a lot. You do? Yeah, I especially love it when the publications don't know that they're like we're getting a cast on your black and white right? I told that. You know, I love to tone him and I have used this with and I love that again the smoothness of it. So let's go ahead and do so. Take the hue going the hue to blue We'll see the blue And then so you actually watch the slider and let me again I know everyone's on a smaller screen and let me go ahead and show you We take the cue in the shadows and we change it to the U That we want the shadows to go to will change them to blue And after changes in blue Zoom back out I then 10 bring the saturation of Yeah, now let's go My highlights I want to make my highlights. Will that'll bring my highlights and go one Just another effect. This might not be the perfect split town that you'd want, but it does do really cool split tones And yeah, if your if your client is a your black and white But they were meant to be that way. I attended, like totem so little. That's not obvious until you actually try to print it. And then there's a cast can't fight the casting. Call me so that's my fault. Yeah, I love toning black and whites, especially since I was a couple other things that I do when I do a black and white conversion and capture one and black. And in this mode, it's tool. Uh, yeah, As a matter of fact, I'll get to that. You get to that, I'll get all right, All right. So, uh, let's take a look at the tools removed toe or in other little things that are there now, it already has a bunch of black and white set you wouldn't have known unless you clicked on it. It's got some great split, Tony. I think that the main take away from all this check that little bitty menu in every tool and gold in there because, honestly, that yellow blue that I made was horrible. That yellow blue. That's choice. That's a nice yellow do. So they're much smarter than I. That's a much better thank you very much. Phase one. All right, black and white color editor That's going to the color under here. We talked a lot about the color editor before, but let's go into it a little bit more in color of some of the food. Okay, let's just show the images that you shall. So the color editor. Okay, there's cake. It's not with us shooting today with killer editor The red here of her shirt was that the color red that it was? It was it was that about the oranges? Radio wasn't like a pure red. No. So let's say that color wasn't the red that we wanted, and we wanted to select that read after selecting that read. Very importantly, with colored interview selected color range. So you see view selected color range here. Now it's telling me. Now take a look at the gray scale. You'll see that those are the areas that are still left, so you'll see what we're picking up a lot of her skin. I don't want to pick up her skin because I only want I only want the red in her shirt so I'll make that wedge a lot smaller and saying Onley want the Reds there and so were much better now. But she's got a lot of red in your skin. Keep tan on her, you go. So this one would probably work better in a mask than that one, but we'll still quickly type on our show what we do now. Of course, because we've got low rez, we can't see the full tool. I'll pull the tool up, uh, and show you the bottoms here. So now I can go in and I can change the lightness and bring that red just down a little bit. Now we're affecting all the other ones and because I don't want to, I can move it down. But you also see that I also get rid of some of the red. We can change that in the smoothness. So how much I choose? I can change the smoothness of my selection, and that changes the edge a little bit. I find that it when it's close enough like that, like it's leaking and leaking. If you will into her skin a little bit, I usually find that I'm making small shifts. I don't worry about it, and I don't think people should either. I think you should sweat it and make a detailed mask unless, like we talked about yesterday or earlier. Um, unless you want the shirt blue for some reason just let the skin change a little bit, even if it's just 10% selected. That again, the philosophy thing, Not so much procedure.

Class Materials

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Capture One Free Trial
Capture One Sample Images

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Capture One License Giveaway

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.

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