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Raw Files & Sidecars

Lesson 7 from: Working with Capture One Pro 9

Nino Batista, Dave Gallagher

Raw Files & Sidecars

Lesson 7 from: Working with Capture One Pro 9

Nino Batista, Dave Gallagher

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Lesson Info

7. Raw Files & Sidecars

Next Lesson: Sessions & Catalogs

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

Raw Files & Sidecars

while we were extremely technical. And to begin with, we have to stay a little bit of technical here because I need to talk to you about the basis on about how a raw file lives and where it lives and all the things that go with it. Um, also, my clients are asking for Ross. Right? Are your clients asking for Ross? There's some places that there's no way around it now, as a as a professional, that shoots people. Oh, my God. I'm never gonna give them my rocks, right. I mean, am I gonna It's my style. I have to give them my look. Um, they're using me because of what I bring to the picture. Both of my Stalin, my look and wrists. However, for a commercial photography, there's a lot of art agencies that require Ross. There's a lot of clients if you're shooting for a large client, if I'm not going to name them, but they have their own retouching department, and they hired you because you're shooting this high quality camera and they know how to use it, and you need to give them the Ross and so...

understanding how the raws work I think is important before we go any further about workflow. And so we're gonna talk a little bit about the raw files of the sidecars and how they live and where they live. So let's do that here. Let's take one of these files. So if you look at a raw file and I'll take a look here and zoom into these files now, these all say E I p Afterwards we're going to get into the E I P and whites in the I p e I. P is a file format for phase one that tells you you I absolutely have to open it and capture one. It is a It is a package file that, um, you can't open anything else now you can, and I'll show you some keys how to get around it. But if your client says I need a raw and you want to send them the rot, well, I want them to open it. Exactly how I toned it and cropped it and created it and kept my my lighting and all of the things that make me a professional who I am, and I want them to see that so many times the clients will open and go. This is a who was this guy? Who would you hire them? Did you send them a file that they really don't know? What open? Very well. And they opened it raw and stripped everything out of it. And so it comes in without any settings. I've seen it happen over and over. You can't allow that to happen. First impressions matter. And if you want that first impression and just got that client and they said yes and you rock Well, you've got to make that first impression important that come up and go Bam! Oh, yeah. Well, there it is. There's my imagery. So I want to show you how if you're going to send them, Ross and just for portability. If you want to be your Ross from one computer the next did you want to bring them to one folder to the next? If I put him as the I PS on packaging and all together and let's before we get ahead of ourselves, let's talk to you about what we're packaging together. So I'm going to go into the first file here. I'm gonna control click that file and I'm gonna unpack. It is a I. P. So after I unpacked is the I. P. O. And I've been playing What you guys were out and I will delete my color read out there because we're not using that yet. So now it's the raw format, so it's an II Q and I Q. All that is It's the raw format for phase one like CR two CR two, right? Exactly. So if I go into and let's go into Canon, I know I have some here. So Ken and Elsie sees. All right, so there's candles. She sees there's Arcia twos so we could do it with canned. Doesn't matter what we do it with, so we've got to see. Are too enough. I were to control Click Pack is the I. P. That's gonna change it to any API. There you go. Now to show you what in the I p is, let's show you what the raws are, and we're going to get rid of some of the things in the background while we're troubleshooting. I'm gonna drag this just to the desktop and make it live on the desktop, and there's my E I p. That's the raw. If I were to take the other file, the CR two file that came came here, and I were to drag that to the desktop. That is the raw without any settings that is the raw without the toning, without the saturation without all the settings that you have. If you were to send this CR two that I dragged my desktop to your client, they open it up and they wouldn't see anything that you had done to it as any I p. It does. If I double click E I. P right it's gonna bring it here will open it back in software. And it's now all the tones that I had. However, if I really want to go in and open this in something else, I can take the e off and call it a Z I p right and use it. And now it's a zip file, and that's really what it is. It's just a zip file. If I double click the Zip file, I've got the folder with my raw files and all of my sidecars with in my settings in my cash and everything on the side, so this E I. P is the raw with all the previews, the settings, the sidecars, the the ex MP, all of it zipped together, that's all. It isn't happy. That's the way to make sure that it's portable and it has all its setting. But this is not like a security thing. It's a convenient thing. It's not security. It's making sure you're protected. It's making sure all the work that you've done is still. So let's go back to Canon Lcc, right? Let's go in into this file and let's make some changes to it. So we know that there's some changes made to the file, some saturation, some changes. And now let's control click this file and see where it lives. So I could control this and show it not my library but my finder, my operating system finder. There it iss. It's in Canon else. You see, there's all my raws. See some other Murray I. P is impacting summers just Ross. But importantly, there's a capture one folder with it, and there are the proxies and thumbnails of each one. So all my settings, all might sidecars are all here with the same name they might CCU. Same C O s same sidecar of files that go with it. If you stand your file with all the sidecars, it's get stripped. There's not there. It doesn't have your metadata doesn't have your copyright, doesn't have anything you can't send a raw that way. And guys trust me by sending us to yard to with all of this stuff with without this zipped into it without this packed into it, you'll lose so much about, I think, Listen, every single file I shoot has my metadata and my copyright in it so that they know who shot. And of course, it has all my settings, I think is very important to know that the raw file stays raw. Nothing happens to it. It is Pristina's. My negative. It is. It is that old file that stays the same in all the settings are separate. That's how it's used. The questions on that I would say it on top. The purpose for this. Like you said, if your portrait shooter you're sitting down hopefully sitting down with your client doing proofs, not sending online galleries, there's another pet peeve of mine. But if you're showing proofs to your wedding clients to your, you know, high school senior clients or whatever. This is not important, but when time comes that you get that big commercial client when they ask you for this instead of going. But you ready for it and capture one has is integrated in there again. That's when the time to mention that a lot today is how capture one is scalable from the independent photographer who shoots babies like your daughter's photo in a local region, right to the commercial shooter who works for major corporations and travels the world know that capture. One can be scalable for all of that. So that's what you thinking to yourself. I will never send a raw file to anyone, ever that a sacrilege. Well, you haven't done much controversial work that, but when you do, you'll be ready with its happening. And that's that's the crazy part of it's happening more and more on when you first hear it, you're just petrified with No, I'm not giving you my raw and I know when my wife, as a wedding photographer, has been asked to get Rusk. Hell, no, you're kidding me. She's much worse than I am you think that? No way can I do this. But if you can protect yourself like by packaging it saying, OK, years raw on the large. Large companies have captured one. They know. How did they use it? They bring it in and it's got all your settings. He might be ready. Be ready for primetime now. Yes. So if I'm sitting raw to a client, um, and they only used photo shop and ice and then those e I p files Will they be able to open up in photo shop? They can download capture one for free. And that gives you require. Honestly, that's what they have to do. They want the raw. That's what I would require them to do. You make sure you tell him on the phone, you don't have capture one. So So we have to talk about the big elephant in the room. Okay, that's d and G, D and G. It is where I leave and we have to talk about you. Want to get my first? No, no, no, no. Right. You go ahead. This is where I'm not here to bash anyone, but DMG is not your friend. Uh, and you can read articles online about, Ah, DMG ends, whether it's right or wrong for you. But I strongly disagree with taking the native file off your camera and converting it to something that's proprietary for another company I've shown you I could go back into my file 12 15 years later and improve the quality. If I would have put that in DMG, there isn't there's no way I would have been will get that quality back, D N g says. Or I'm sorry, Adobe has said These are the things we find important to raw files. Remember, they started doing raw away after phase one way after phase one and have been catching up, they said. We find these things important. We have drawers in our desk and here's the doors to put that information. But when it comes to noise reduction, I need a drawer over here when it comes to lens profiling and when it comes to lens cast correction, I need to draw over here that DMG desk doesn't have, and so it strips that software that that that setting that I've done over here, and so if I were to then take my file. Boom Convert out to D and G, Which you can You can convert your file from here to D. N J. You can output in D and G if you want, just like PSD or tiff or JPEG, you can out put two D and G, but there's certain parts of of the settings here that are going to be stripped because Adobe doesn't recognize so for perpetuity, for archiving purposes. For everyone, this is well done it. The best way is to make sure it's a DMG and forever will be. But open it well. If you keep it in the native of your camera system, you'll be able to open it as well. You'll see here today. I've got a Canon G two, right. We're at G. What today? 105 right? I've got a key energy to file that I had that I shot 12 years ago, that I'm opening that file up. I'm converting that raw and I'm distortion correcting, and I'm applying these features to it that that I'm thrilled that that Ross opening this this long afterwards. I know I'm on a soapbox, but I strongly believe in keeping your native file native to the manufacturer having a sidecar with the settings and not converting to something else? No, I agree, Actually, completely agree. I've never been I've been very neutral on DMG myself. Even you have very neutral. In other words, I don't ever utilize it. But I know people who are huge proponents of it. Like you said, All right, um and yeah, with obviously capture oneness that I actually technically from the overall point is the more you mess of the file of the worst more you worsening it. No, that it opens D and G's capture one hope I love I'm talking, pounding on the desk And I know that's probably driving everyone creating a part of the desk I love my like you're not gonna be will take my my 2 40 out of my hands My, my black and white I love my like Take it with me I'd love this camera to, but they're different beasts. So it captures and I've got to have it in d and G format. So I'm not against the d Angelo. Wish it with something else. Um, and we won't go into those things right now, but it works with the NGS and I want to show you my black and white like us in a second, and it works beautifully, but I just don't prefer understand eyes the open out can we Elephants, elephants Question from Brian Smith wants to know Brian Smith. Can you export the raw as DMG? Absolutely 100% and you can. So as we go into our output, recipes, recipes you'll see and their output recipes, you've got J Peg tiff, PNG PNG PST so we can output as a DMG now. Ah, very good customer. Zacarias. I was on set with with our 100 with his I Q. $100 this week. I hope he's not upset that I'm saying this, and he said his client was requiring the DMG he output into DMG and Adobe doesn't have the profiles for the 100 megapixel yet. So they didn't open properly in photo shop because they don't have it ready for D and D in this camera. Another reason not to go DMG. So yes, yes, you can if you'd like to, that it's there and some require it and you can't get around on it getting around it. But be careful. Just be careful. Know that. Do some, work yourself out. Put a DMG, open it back up and go. It's fine. Great. And then send it to them.

Class Materials

Bonus Materials with RSVP

Capture One Free Trial
Capture One Sample Images

Bonus Materials with Purchase

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.

Student Work

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