Levels & Curves
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
Levels & Curves
Okay, let's go back to what We were away and put him in order. So we're using in order. So we've got it cranked. We're gonna crank HDR highlights and we've added another layer and done it again. And we still have this really smooth look enough said levels. I use levels. I do use levels. There's often times I'm going to want to use levels by saying, You know what? At mid toe, I just want to pull that mid tone a little down a little bit. I just want to tweak it just the small just on its degree and bring my mid toned down. My his grandpa stayed the same. That's still got the same curves to it. But I just pulled it back, just placing it differently. I don't clip. I don't use it to clip the highlights. A clip, the shadows. I don't want to do it that way. That's why I see a lot of a lot of done, have just pushed it and clipped all anything from 10 40 above. So let's go ahead and do that. Some people do, so you know I'm gonna clip it, all right? And I'm gonna push everything. I want to push ...
everything up and clipped that information. I don't want to use it that way. Now, on opposite side. If I don't push it and clip it, I grabbed the top of levels. I can push it rather than pulling and clipping and push it to a certain level. So what this is saying? Is that all right? My hottest point in this image is gonna be to and for certain things, for art reproduction. I'm gonna want to do this. I'm gonna want to hold the dot and everything. That's very seldom do. I want to have a blown out area in art reproduction because the artist created it for a reason. And if you're not doing it exactly and are reproducing that like the artist's intended, then you're doing him an injustice or heard injustice. So you want to necessarily have detail everywhere you want everywhere in that image, especially for archiving reason, you have it there for our carving reason s so that you can do what do you want with it? Later and again, we archive this here and capture one in the native, the native version, the native raw that the manufacturer chose. So by archiving this, this is an E I. P. But let's go ahead and unpack. Control click Unpack E I. P. This is a native version for the manufacturer. This is an Iike you. The manufacturer has said I want all of this data to be accurate to my camera. So I archivists and the manufacturers chosen raw I do not go to DMG and adobes shows inversion of raw. And so, by giving us all that data and be able to save those sidecars and all My, my my information my ex MP, my my saturation and hue and all the changes to it in a sidecar that native raw stays the same very, very, very important that think about that we do not go to DMG on archive ALS, which you mentioned earlier. We did have an extensive conversation on the N G. So that's 11 is clipping. When is pulling One is pushing. There is an auto levels already. Hey, that's not too bad. That was acceptable. Hey like that. So again, is auto always back now? Does not always bad. Let's play now what it did. Let's take a look All it said is I'm gonna bring my shadows up. I'm going to live. More contrast. It's not bad. I I'll admit when it's smarter than I am. You know, so far, the manufacturers been smart of me twice in this one segment. My goodness, I'm in trouble. All right? So you can actually go to channel. You can go to the Red Channel and you can pull back the Red Channel if you want. There's going to be reasons why I don't use it. I'm a technician. I like accuracy. You, the artist, can talk about why you'd want to do that. But that's not that. Might not me, not my gig. Command Z and go back. Yeah, I will talk about that cause I do play with this. Don't have a dog in that hunt. You don't. I only did it once. Only once, today. Okay? Yeah, to me. I would want to real quick when I even in Photoshopped. To me, levels can be very destructive very quickly, but it's also extremely powerful, like you leverage it carefully. Don't overblow those highlights. Why not? But those little tweaks, but she only minutes like you're talking about are some of my favorite tweaks and again using the smooth, raw data and capture one. I usually try to get my levels exactly where I want him here, even before go to photo shop. Cool so you'll see that curves. I don't use curves a lot. I don't. But there's certain images that this is. This is that one off image. I'm not shooting this image in a Siri's to make the match. I'm taking one image, and I'm trying to make this one. Image is strong as I possibly can, so that cause this image is going on a wall, right? This Is this an image? This is the one off that that piece? Yeah, exactly. So for that one off image curves makes sense because I don't care about consistency from this to the next one. This is esthetic. This is beautiful. So, yes, I've gone in tow lower than my mid tones, and I pulled back just a little bit on the so if let's let's go ahead and do the option click. So that's what it looks like. Before I pulled back on the made all the difference. In contrast, I wanted that drama. This is a dramatic scene if you allow it to be now. Control, click New variant. That's the image from the raw. I knew because I shot it with the right camera that it had all that data. But you would have never thought that that was a final. You look at that, NGO. I missed it, right? I missed it. But that image turned into this. That's pretty cool, right? You touched on that earlier when you said that shooting with captured one in mind. Not just the cameras. You have it. No, you have caption one at the end, you will shoot knowing that you could maybe shed a little bit under or a lot under No one. You can bring it all back smoothly later on. And that's not necessarily how you want to shoot everything, but in a situation. You walk onto the scene and go. I know I want to capture this because I know what capture one can let me do later. When I do that, I should quite a bit special. When I'm on location, go back to my photo instructors And they used to teach us if you're shooting for for transparency film you think what? One way for shooting for, um C 41. You think another way for negative film. This is the same way you think and shoot for the camera and see one combination. Right? Because let's be honest, this we are This is our lap, You know, we were doing the lab work here, and so yes, if you think in mind Yes, well, I know I can hold those highlights. I wanted to go a little hot. I want to get all that drama. I what? I don't want to iso don't want too much noise in the shadows. Uh, boom. This is where you expose it for. And you see that? What? You didn't think you were gonna have it or what you might have gone past and even in called out of your images? No, no, stop. Go back and look at him. Now. What's really important about this And I might be Brandel here. Think about what we said about the color engines, but they go what we said about the version engines. Right. Uh, you had a version from or we have a version from capturing five. Or capture 16 that we just pulled all that data out. Think about going back to that image of that landscape where that image that you were okay with and getting this out of it with capture one night and you didn't change anything but just your processing software. That strength and no one talks about. No, I've actually don't have gone back two or three years ago and looked at her old shoot on accident looking for something that I forgot about or someone asked for. And I see an old shooting. I go, You know, I never did anything with that set, but I wasn't. The Capture one user, then 45 years ago and I revisited. And sure enough I can do. Now, I know I could have done this with it. Had I been captured one user or had a different first or whatever, So, yeah, I've actually experienced that and revisited old images. Just personal work revisited old images that I didn't know what to do with the time. I thought they were hopeless. I thought I missed, shot him and then captured. One can not save them. Don't want to use that word. Makes him usable. Yeah, well, I'd say this image is useful, I would say so. Okay, that that is the courage Now that is part of the curves part of the curves. Let's go into another really nice part of curves. Now we've got red curved screen, blew the channels like we said before, But one thing that they've added inversion nine is the loom occurs on Lumet. Curve is a way to go ahead and change your data with a curve that that is nondestructive of the colors that does not go ahead and boost the contrast or saturation of the colors. Let's take a look at just Weiqing and a little bit watch the extreme right. Well, see that's contrast change. Undo. Do it s curve like we had before. Actually know what? Let's go ahead so we don't see anything here. Let's reset this one tool. Lets reset it. So that's that's how this tool came up. Well, now let's go to the Looming Channel instead. And let's do that. Esseker and Lumet channel notice the color's stayed the same. I don't have that dramatic saturation differences that I had by doing it globally to the RGB curves. I'm doing it just to the contractors to the to the tonal values. Well, that gives me a different look completely look completely different. Look now for this image. I prefer the other way. Agreed. Right, But you'll notice I don't I didn't change the color. And so if I'm shooting for accurate colors, that's given me a little contrast without changing my colors. That's really great in search certain situations. Especially good if I if I've many on how my workflow has gone. If I've done a little bit of color work already with color editor and all that, I've got tones that I like and then I go, You know what? I need to do some curve work here on the mids of the highest. I go straight to Loma because I spent a lot of time on that color work and I don't want to shift. So when Bloomberg came up and by the way, for you experience photo shop users. If you do a curves layer adjustment layer and go to luminosity blending mode, this is roughly the same thing. Is that your experience with that? That's what we're talking about here, changing the luminosity only. But yeah, I agree in this case. The RGB changes were a lot better on that image. Yeah, well, I'm shooting for drama. I want those saturation. This is a completely different scenario, I think, than the other one. But it's nice to know what it can do. What loom is there for you?
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.