Lessons

Lesson Info

Why Shoot Tethered?

cameras And what cameras air supported on and tethering. I think we're going to start into tethering and why we'd want to tether and what camera supported for tethering. Uh, we have about 30 minutes left, and then we're going to do a full 10 and shoot. Absolutely. You for the next segment. When a tether to your camera, we're gonna go through it. I'm gonna be your tech. You know what you pay me today. So we're going to tether know why tethered again, Bear with us. We're going to get into all the features and and all the tools little by little and and delve into them. But we have to go in segment. So the next thing on our agenda is tethering and we're going to tell her so Tethered troubleshooting beforehand. Again, the technical part of tethering. Which camera are you tethering? I'm gonna come up here to capture one. I'm gonna look at my preferences and no, that if you go in and you tether with a leaf of mommy a cannon or anything else, you can get rid of all the other drivers. And often...

times, if you're a Nikon, Kyra can get you want to shut the other one off. You don't want to have the other driver in there because it can cause problems. When a new driver comes, that new camera comes out down the software, and all of a sudden there's a conflict and it doesn't work anymore. Just shut the other ones off. Say those night clubs are no longer available to me. And since I don't use Sony or Nikon boom, they're gone and never have them there. So that disables the Nikon and Sony tethering for this. Those are the three cameras that I tether with. There was the ones that I leave on, so no, that that's a really just safe, just safer tethering you can. If you choose. You can actually go ahead and important and have them say Visit E I. P. On tethered if you wish, slows that down a little bit, but then you never have to do it afterward. So our Capture folder is here. Remember, we can make a new capture folder. It's signed to a capture folder here for tethering for tethering. What's important is those cables, um, tether tools, make some great cables. We have our own cables for the medium format. Know that don't go to Best buy and get the cheapest possible cable that's there on their shelf. The biggest mistake. The biggest mistake throughput on these cables matter. Having a quality cable matters. Incredibly. You're only as strong as your weakest link, and this is the weakest link in tethering by far. So don't go with a cheap cable. Don't go to bed and I don't go to your local place and get the cheapest one. Sorry, Best buy I go to do go to best buy and buy things All right, So pretty uttering Capture one automatically goes into the drivers and goes in the buses and looks for cameras that are gonna be tethering it. It will go in and seek it and find out as a device has been connected. Go and look for that device. It will go the operating system. Find out that a device was connected and see if it has been okay. I want to take that there's too fast. Let's take it back out because you don't see it. All right, let's take a look down here. There's my camera. I'm going to connected. You want your believing that was faster. That it goes and it finds my camera and it tethers. So I've got USB. Actually, I think this is a USB three cable, but I'm thinking that used me to to speed with this computer because it's being 3/2 years old. I might be on the cusp of of three or not sure I'm not. I don't know. I don't know what tethering so that that's it. I'm connecting now. That seems pretty easy. That's it. Thank you. Done. All right, we're done. If you're shooting, can make sure default on your canon cameras, right? Make sure that we're not. You haven't gone into the settings and told it not together or view or another kind of camera where you've told it to beat working Aziz AM Card reader. Instead, you know there's some of the program. Know what you know your camera well so they don't go in and have set of preference where it won't find it. This is Intently Software's very intelligent. It's going to go there and find that camera system. Um, let's take a look at tethering. So with tethering, that first tool is very important. It says. Capture of course, capture one. I've got to tell you. 95 99% of commercial jobs are capture. One is the tethering tool. There is just no comparison in it on and you saw for other cameras as well. So if we take a look at that capture, the only thing that happens in this whole to tab is what's happening in my capture. I can't change this file at all that it's captured already from this tool tab. The only thing that's going on is when I capture the next image, these air, the settings for the next image, very important to know. That's why I don't even need this tab at all. If I'm not tethering so this tool tab, this is the capture tab. If I'm not telling, get rid of it. This is what happens on my next image. So the default, as I named the session was creativelive. I named a session called Creativelive. The default at the bottom of that session was creativelive as the name of the session, and that's the default name. Now you'll notice the format is name, then camera counter. So if we take a look, if we take a look at this file. I've got 19 778 That is meat. That means there's 20,000 image that have been captured with this camera. My I Q 1 100 Okay, I've got a 100 for sale. Anyone that wants to buy 100 can't believe I have 20, shots on my 100 megapixel already. So there's 1% gonna move that one. Um, that's the camera counter. I can set it to camera counter, and I don't like that. It's right on top of each other. I typically put it a shift within underlined so that I have a separation of that number. Uh, it should have done that before, so that if you capture the next file right, the next file down below will actually have from 1978 and there's no no Flash turned on details. There we go. Now the flashes on. I haven't only focusing on just this capture. Don't worry about there being out of focus, man. Now we've got creative life underscore, and then the camera counter. That's the camera counter. That's not typical. Typically, we wouldn't have a camera counter if you're not using a digital back. So if you're not using a digital back, let's go in and look at our tokens. So a lot of the features in capture one have all these presets already. I take my camera counter out or just going selected and then delete it. I grab a one digit counter and double click on it and say it. Now it's gonna be Nick Creative Life one. However, that's only gonna last us for 10 shots. So let's not do one. Let's do a three digit counter. And so now it's gonna be that 00177 You can see right now it okay, capture another one and you'll see about the next name is 17 So that's how just that capture name. How do you do it quickly on tethering If I want to change some of that, remember, go into these menus and click on them like on the menus. You can set the capture counter to whatever number you want. There you can do the increments and go intends if you want. Right there little things that are hidden repair their Ross and Jay pigs, so they're stuck with each other. Look at these little hidden menus as you're doing every single tool because you will open up and go. Wow, that's where it iss. All right, so my hard drive has 46. The one hard of them. I'm connected to his 46 gigabytes left at this camera because it being 100 megapixel is only shots left for 46 gigs. Hard life, right? It's megapixel that you'll need. This is a four year old computer, too, so we're not talking about the largest hard disk in it, storing the files into my creative live capture folder. It's storing them in whatever I have selected as the Capture folder, that one doing some air stuff over there. All right, importantly, Default. The I. C. C. Profile. I've chosen either my Flash I Q 3 100 outdoor Daylight portrait. Thompson. I can show all of these and really important. Here's my DMG neutral if you want have a DND neutral file canon and then it's Oh my God, Here's all the cannon profiles, right? All the cannon profiles that are already by default loaded like Eos one D daylight Flash portrait, tungsten. They've done the homework. Everyone there in here already. So look at them that I, of course, don't want this camera mixed with that I c c profile. I don't want that. But you can. Sometimes it makes him Caray did creative looks when I changed my profile. My input profile. So what is the I c C profile of this input? Pimple? You know, the color profile of this, This one sensor, the one sensor might be really prone. Toe the yellow light. So we've got to go in and you map that sensor you color calibrate that sensor and you make your profile for how it's that yellow ish sensor is gonna work with tungsten light and how you have to change it. So those profiles are designed to take that sensor, maximize the color and get us back to a know a neutral A even a consistent. That's what the I. C. C. Profile is on the capture profile. There's gonna be another one for your monitor. There's going another one for your output. Those were different. But this is just the I c. C on your capture, and I will say this to guys color management in general Member big corporations, big design firms and whatnot. They have entire teams for color management. It's not something that you take lightly. We're not gonna double too much in the detail right now, but learning about this kind of thing can save you tons of time and making sure that you work. It's consistent that you fighting against it, so just keep that in mind. Color management. We all get frustrated by the people, talk about monitor calibration and this and that. It's not something to take for granted. So just throwing that out there. As technical as it might sound, you want to keep a client. You want to make sure you you actually produce the most consistent file from one shot to next. Understanding. Color calibration matters. Orientation. Sometimes when you're shooting straight down at camera, doesn't know if it's left to right. You can hard push it one way or another. Sometimes the the sensors inside the camera are fooled. You can quickly change it too hard, said it one way or another. Metadata by default, copy from last. So let's talk about copy from last. So whatever I set this one filed a have the next files going toe have as well. So if I'm gonna come in and I'm gonna open up, First of all, let's get this. This is a horrible file and let's make a better one. So before we go there bare with me as I go into my life, you and I'm gonna actually look at this file, right? And I'm actually gonna focus co crazy focus on the image itself. All right. We're gonna focus on live you. Yeah, that's good. Now I can go, Of course, to go a little bit further on, get in there to the pixel level, and just make sure that I am sharp where I want it to be. I've got a rotation pitch of this. Ah, you can get pretty deep. You don't need to get that deep. You can great balance from here. You can zoom in as we zoomed in, but I just want to get us close. I'm just doing live you for that. Now, let's go ahead and shoot another one. That was just focused. Now, now, at least sharp, right. Mm. Okay. No, let's put a grayscale in. So taking a look at my grayscale for color, I'm going to go in, go back to my picker. And once I put my picture on something Zuman again, you'll see up here by default. It will tell your numbers. Now, if I'm neutral, that means I have equal amounts of red, green and blue. I'm gonna go to my 18% gray and select on it. Now, you could go to a little bit lighter and select as well, because my eye sees color changes in, uh, lighter neutrals, then darker, neutral. So I might want to go to one of the used to do the balance on, But don't go too dark, so there's a new a neutral color balance. That's all I've done. If I've got multiple lights on my set, Uh, if I'm if I'm shooting in green trees, right, I'm shooting in the shade, the light coming through the greens gonna fall on my subject and it's gonna be green. If I don't have some kind of consistency to pull that color out, then I'm guessing at it later. So me, the technical guy, I'm carrying this with me and back pocket everywhere I go, no matter what photography I'm doing to keep consistency, So this color checker. I just find it. I can't imagine being a photographer without this device, so I can you can e I don't have to imagine it. I use it all the time. So if you're shooting weddings as an example for speed, I'm shooting outside. I'm doing Portrait's outside and you're letting the camera decide Auto balance. Have you seen your exposures go from? Have you seen them go from cool delight to cool the light? Because the cameras guessing at your color on auto. I don't want it to do that. I want to control it to me. The best professionals controlling the process know the rules so you could break him like an artist, Nino. Okay, so So I said white balance is something to leave me alone once I walk into the church Now one of this crazy church lighting who knows what kind of fluorescence underneath they're. All I do is pop this out. I pop one and I keep on shooting. I don't do anything that because later and capture one, I'm gonna select it and even it so t me. No matter what kind of photography you're doing, this is an essential tool because it gives me consistency from one job to the next to from one shot to the next. I'm not making aesthetic choices by it. I'm just getting consistent shots by it. Yeah, right. Um, I focused. Yeah, I see a little bit of dust. Is he that there's a There's a little weight. Some lit on that. There's a couple pieces of lint on that leaf. Shame that camera. So I think tracked weeks off. Now excuse me again. I'm a technical guy. You're gonna see creativity when Nino shoots. I had to go find something to shoot today. And this is what I found because there's no logo on it. It's nondescript, right? You're not supporting any any company. So So this is what we're shooting today. All right again, this is just capturing. I'm just doing capture right now. Worry about others. Other things in a second. Go back to here. I just wanted to get a sharp image while we're looking at it. Copy from last. So if I made an adjustment, if I make an adjustment in exposure or hdr pulling my str back in right, opening up my mid tones some if I make one. If I'm on you, I've still got that one back. Let's get rid of that one. If I really want to shoot, it does by coffee from last. That means all my settings that I just changed will go with it. It's copying from the last image, right? So you're adjusting as you're working and just keep that going, and that's what happened to your growing and you're changing things and it keeps on going with you. If you go back to the original, you'll see when you started. You know, a completely different look toe where you were today. But this is copying from last. I guess we could make a big change.