Nino's Post-Tether Workflow
Lesson 13 from: Working with Capture One Pro 9Nino Batista, Dave Gallagher
Nino's Post-Tether Workflow
Lesson 13 from: Working with Capture One Pro 9Nino 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
Nino's Post-Tether Workflow
all right, But I'm gonna show you specifically my workflow, um, to a degree, anyway, because my outdoor shots, I do slightly different than the indoor shots, etcetera, etcetera. But we're gonna go through kind of what I do. And this is on default settings that sort of out of the box. I put a little actually know where most of that is, because I didn't use to customize my settings until, like, a year ago. So I'm pretty familiar with all our All right. Let's see these shots of Kate. I like that one that's going to fill it out. Let's see what's going on here. So to me, like when I do this kind of very traditional studio to, like, kind of portrait thing, I don't do a whole lot of heavy handed color work, but I do do some common things to get the look. But I like when I do the outdoor one, you're gonna see me do some really heavy handed grading and everything going to show you today. My philosophy is, I guess, for lack of better term is I kind of use the term preparing the canvas as it were...
. That's how you captured one right now because I always end up in photo shop. I want to make that very clear. Um, when I first started, and you might be happy to hear this, Dave, when I first daughter in version seven, capture one quickly became all of 5% of my workflow. Okay? And now it's 50% and growing, and I'm not saying I'm never gonna stop using Photoshopped. Photo shop is necessary for many things, but, um, I'm in capture one now for more than half of my entire project, So using it more and more and more. All right, so let's find an image that works. Steep years look alright, don't they? She's like, Why did you put me in front of the camera? This is terrible. She looks cute. I really like the black and white one, but I gotta show color as you're going through them. Let's start them. Let's tag them. Okay. What? As you go foot from them, if you grabbed the one through five, you can start them one through five, each one, and then we can actually sort them later, which I've sorted all the other ones before. We haven't shown how to do that yet, but that's what we would be doing as we're going through them now. Going up. That's a four. That's a five. That's three, right? It just hit the number and you storm. Now my personal preference. I don't technically, in my workflow anyway, for me, either started to the five or nothing. In other words, that's a potential or is not a potential. I don't rate three and four I. That's how I work. But I know a lot of people that do. They keep things of secondaries, a three or four star, whatever. Some clients like the storm three or four. But for me, my personal calling, it's five or nothing. And then I go back and review my fives and I call from there. That's just me, though. Yeah, they're flags that you can do instead of numbering, so you click five. Just click a flag, and you know that that's your image that you want so show so you could quickly do a yes or no with a quick er, red or green exactly that the quickie ready green has already default, or you have a series of colors that you can add crazy colors, right? Purples and yellows and such and s Oh, yes, there in the quickies. So they in case you don't want the five, you can contact them color, attack them and start right there at the same time. And, of course, sore thumb by stars and sort them by college, which will do later. Yeah, move over that later. Cause, like, said, my calling process is all about picking the ones that work and throw him down from there. So I don't have I'm not really technical and complicated by the way I want in this. Like, for example, this all came about these presets. If I don't want this any of this at all, I could destroy everything in one keystroke. Obviously, command are I could just go back to pure on that. But you're gonna panic if I do that. No, no, no. But a lot of times I will do that. Um, when I mess something up, I'm experimenting with color. Like I'm playing all the settings, everything. And I don't like it. And I don't want to reset every single tool I just had command are, and it goes right back to wait. Came on camera. Now, In this case, of course, this a little strips the color correcting that you did upon tethering track so that it is It's an all or nothing kind of commit to it or not. He wants to know if we capture an image using a preset such as black and white profile. Is the original raw file still available? Absolutely. That's why we did all that ahead of time. Because you can see that the raws always raw the sidecars have the rating in them. And so that sidecar, if you drag that file out and don't have a sidecar, the ratings go away that everything goes away. But that sidecar sticks with it s so we put all of those things that style. We shot it with style. The stock goes directly to the sidecar. They start shot it with a rating, shot it with metadata. That's all goes to the sidecar. So all of that is stored separately from the raw. The Ross pristine still are negative per side. Absolutely. And I just I just did real quick to show you the common thing that I do. If I did it, command are and pull off all the settings and just looking at the untouched raw. If I come over here and I like the settings on this one hit shift Command C and copy all settings and shift command V and apply to that one. That's what I do. I like that one. I like to keep commands again. Um, So I just stripped out all the settings, and I pulled it from another one that I liked that might work with that one pushing. If I read systems and I import it with the CF card, will it hold onto the rating or do I have to still go back all the way through and capture on a re raise them again? Most of the cameras will keep that reading with it again. I don't shoot all the cameras, so it's hard to tell you which one does in which one does not. What imports it in? Yeah. I never do it in camera it if I don't. You something. Do I've seen you do it. Yeah. Makes sense. Question. All right. So, typically, we're gonna leave the default workspace that you had on here. We'll leave it on their my usual things even though, like I told day before, I don't really tether and capture one because I choose not to. I just simply never have. So there's a lot of already decisions have been made. The 1st 1 of course, being the white bounds. Great balance has been sort of figured out, but normally that's where I would start. I'm kind of starting here and play around the It has been figured out. I've just been told, Right, right. We haven't decided aesthetically. What color don't you want? But what we did do is take the blue out of the light. Big difference, because we're gonna be changes radically. Whatever you choose. Exactly warmer would've routes. But what we did is take anything that that light might be different than this. Like, all right, that tube could be five years old. That's a brand new one. Completely different, like and so what? We just got rid of that variable out of the situation, which of course, is technically wonderful. And I technically don't usually, but I am very, very visual and very like, you know, just very simian. I guess that's exactly why this class matter. The ying and Yang to come from both perspective and how you could look at it or how you could look at it. There isn't a right around.
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.