Dave's Capture One Workflow
Nino Batista, Dave Gallagher
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
Dave's Capture One Workflow
okay. When? When you first open it up. This is what it looks like. Your images are up top here. Then your images air on below with you've got all this, All these tools everywhere. This is the default. So I want to open up his default and quickly from the default. I want Teoh Command shift B, bringing my browser over to the right. Now I'm gonna show you very, very fast. Workflow. Don't ask questions. We're gonna get through this over over the next segments throughout the next time we're together. But I want to show you how fast it can be. So the first thing we're going to do is take a look. A great balance on Go through the workflow. I'm gonna come to my workspace that I like best. And it's a Dave's Ah, template that I have set a workspace designed for my editing purposes and that editing purposes. For me, it's simplified. So I've gone simplified here, and just the tools that I like to use. The first thing I'm gonna do is great balance. I'm gonna white balance or great balance. No matte...
r what you call it, I'm going to get rid of any cast that's there. And so Apple Z or Command Z, you'll see it go away. Great balance and you'll see the color. Come, come up quickly. Um, gonna go to the first, actually, Yes. Let's do that. That shift click that's copy and applied to that. This image here. So now it's all that colors applied to this image. Now, let's take a look at what we want to change. Contrast? Yes. I want to put a little bit more highlight detail up. I'm gonna bring the saturation, maybe down a little bit. And so there's the look that works for me. I'm gonna grab all those images. Option command V. Grab all those images that are similar down to here. I'm gonna copy. All apply all. And I want you to see the speed, right? Those are all changed before you could even see it. So those are all changed to that. Now we'll bring my viewer back up. Take a look at this image again. Nothing's been changed on this image. I want to bring the lightness brak up, bring the bring the brightness up and to bring the contrast in a little bit. I'm then going to come to all those images, Grab them all and again. Copy and apply and change all those images. You'll see them go. No, no, this is not dramatic. So on the next ones, I'm gonna make it more dramatic. I'm gonna bring my exposure down. I'm gonna bring a vignette on this, right? I'm gonna bring my mid tones up, contrast up saturation down a little bit. And so for all the next ones, they're gonna be a little bit more extreme down to here. Copy and apply. And they're all done now. You saw them. There was a little bit more dramatic. You see them done that fast. So that's the workflow. We're going to go through these by looking at that image. See what I've got to do with that image. Go. Yes. Contrast has to be moved to a certain point. I can take my contrast and go 15 if it's a known 15 contrast, bring my saturation toe a known point and again apply to everything in that range. So this is what I'd be doing if I'm setting up that after workflow, getting them to that really quick view now important to go through all my images hundreds and hundreds in the images and see where the next one happens. The next image here. I saw that the light went down and got a little cool. So I'll bring up the Kelvin temperature up a little bit on that one. So it was a little bit too cold. You can go dramatically. See how yellow I got. But bring up the Kelvin temperature up Apple's E or Command Z goes back to nothing. I could go or 5300 Kelvin and set the exact Kelvin for it. Grab all the images again that are in that shift. Copy and apply. And those are all warmed up. So already seeing people who question that well, I don't want to use it because I want to be efficient and quick going to stick to light room, right? We're already seeing the opposite of that again. I'm not gonna bash light reminded to show you how I do it really well, and I don't even go back there because it's so fast for me. Contrast. Held in temperature saturation a little bit too much thing. Yet that's the look I want. You'll see that the one next to it. Huge difference between the two. So I'll go to all the rest of the images. I'll shift. Click them all. I'll copy and apply. And it's all that fast. Great. I just edited. I decided how many images? Three had 440 images that fast. Let's go to my output. So I want to make these all for Facebook. So here's my Facebook 909 160 pixel wide for Facebook. I want to make sure they're all for Facebook. Just for now. That is true, but I can go ahead and say Yes, I want to develop them to Facebook. Now I can come in here to my queue Batch and I could just hit Facebook here Process, and it's gonna start processing them. But I can then come here to my cue and say, Stop, stop book. I've now loaded them into the Q and said, OK, that's gonna be for Facebook. Um, I think you go to another folder, grab another folder and hit process again. Let's do my four by six is, and maybe this is for proofs. Four by six only, and it process and say no, I don't want to start and going to another folder adding up. I've got hundreds and hundreds of loaded full files ready to go and keep on loading them. And then when I'm done, when I'm done, start can go have lunch, lunch and go have lunch. And that's testament to the efficiency. That's it. That's efficiency. That's how fast it can be. Very importantly, very importantly, here. These Facebook pictures right, are actually gonna be put in a output location that's in a Facebook resolution sub folder. So want to go to my output? I'll have my tips in us. A folder of tiffs. I'll have my Facebook images and Facebook folder. I'll have everything sorted properly in my output. So digital captures easy. This is the hard stuff. Where did I put that image? How did I organize it? What do I do with it? Oh my God, what's going on with it? This is the hard stuff that this is why I use capture and this is why the block people speed. How much faster can I do it kind of get back to my family and do other things. And the organized at the same time you know where to go. So that was again perfect. Tested it immediately to the potential efficiency. And yes, of course, when you haven't used that, you have to get used to it. But like he said of the perfect demonstration of what's possible? Absolutely. And I just deleted ducking out of Mike. You stopped it from going and done. So Facebook friends will thank you not doing 440 Facebook pictures. Correct. Now, one thing I didn't show you, and in fact, I didn't show you but its pinnacle your watermarks down here as well. So we're watermarked for the Facebook images so that you're the person, the photographer who is a very talented those of you who shot these. It's marked. And I've seen way too many times on Facebook where they've gone and crop them again and got you a little go out. Never hates that right across the front so they can have two. Can't do it. You are putting a contract, right? So they're all watermarked is with
Class Materials
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.