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Control time and stay ahead of the game

NOTE: This article discusses an outdated version of Capture One. To learn more about our latest version, click here.

As some of you may know from following the Phase One blog and emails, I regularly serve as a digital tech for the brilliant and extremely talented campaign beauty photography Sarah Silver.

After working with Phase One on a behind-the-scenes look at Silver’s digital workflow, followed by a webinar hosted by Sarah and myself, Phase One asked me to write a blog post about my own workflow as an interior photographer.

The truth is, I’m a visual person, as I’m sure many of you are; I’d much rather see things in action. With that, we decided a video would be the best way to show how I photograph interiors using Capture One 8.

 

Huge benefit with one application

For this particular production, I partnered with my favorite interior design brand, Viyet; the online destination for nearly new furniture finds from top designers.  Feauturing pieces from distinguished lines such as B&B Italia, Cassina, Christian Liaigre, Holly Hunt, Ligne Roset, and Mies van der Rohe, the online redesign brand is changing the game for high-end furniture consignment.

When we started looking at production dates, Viyet was about to launch its very first pop-up shop at the FLOR store in SoHo, New York.  The launch featured interior vignettes designed by Jennifer Hunter & Goergie Hambright of J+G Design; and Patrick J. Hamilton, an interior designer regularly featured on ApartmentTherapy.com.

 

Perfect challenge

This turned out to be the perfect challenge for myself and Capture One 8: an intimate space with two uniquely designed interior concepts — and of course, not enough hours in the day.

Without further ado, please enjoy this behind-the-scenes look into our day with Viyet at the FLOR store, and the final images from the shoot.

Best regards,

Topher Scott

VIYET6_111314_A_015_CR

VIYET6_111314_A_031_CRVIYET6_111314_A_116_CRVIYET6_111314_B_015_CRVIYET6_111314_B_031_CRVIYET6_111314_B_058_CRVIYET6_111314_B_036_CR

 

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Fewer clicks, better results!

The Auto Levels feature in Capture One 8.2 now has some new options, allowing you to optimize your images more efficiently and with more control.

Auto Levels now has two different modes: linked RGB channel optimization and individual channel optimization.

The new individual channel mode can, for instance, be very efficient for optimizing landscape images of mountains in the winter and spring time, where the combination of UV, snow, blue sky and distant haze can introduce a color cast.

Tip 806 Img2 fullThe left image has been optimized using Auto Level set for linked RGB Channel Mode. The right image has been optimized using Auto Level set for individual Channel Mode. The individual channel mode removes the color cast both in the highlights (the snow) and in the shadows giving a much more pleasing image.

A Level tool for each color channel:

Let’s take a look at the image from the comparison above. In order to show you the optical challenges I will start creating three floating Levels tools. This allows me to see all the individual channels at the same time.

Tip 806 Img3Adding an extra floating Levels tool from the Window menu

Tip 806 Img4The 3 Levels tool stacked together each showing one color channel

 

When placing a tool underneath another floating tool, it will automatically stick to the first one. Now with the three individual histograms open at the same time, it is obvious to see that the black offset is not the same for the three channels. Distant haze and the high amount of scatter light hitting the lens cause this.

Individual channel mode:

When the histograms look like this, it makes sense to optimize the Levels for each individual color histogram. This can of course be done manually by dragging the end points but the new Auto Levels mode makes it possible to automate this task. To change the Auto Level mode from the default linked RGB Mode to the individual Red, Green, and Blue Channels mode, go the Preferences under the Exposure tab.

Tip 806 Img5Changing Auto Levels mode in the Preferences menu

Tip 806 Img6It’s possible to go directly to the Preferences menu from the Levels tool via the tool context menu indicated by the three dots. See screenshot above.

In the Preferences for the Levels tool it is now also possible to set the Auto Level Clipping thresholds. These thresholds determine how far into the histogram the shadow and highlight slider moves when using the Auto button in the tool.

Tip 806 Img7 copyThe result of using the Auto button for the Levels tool when in individual channel mode. Notice how each color histogram has been optimized. The Exposure Warning is turned on and shows just a bit of highlight warning for areas reading more than 250. The red circle shows the Auto button for the Levels tool.

 

The default values are set for clipping only 0.1% of the histograms, which works well for most images. Setting higher values for the thresholds will lead to more clipping but will also result in an image with more contrast.

Tip 806 Img8copyIn this example the Auto Level Clipping thresholds have been set to 5%. With the Exposure Warning turned on we see that a much larger portion of the image now exceeds the warning levels.

Comparing the two different channel modes:

Now let’s go back to the comparison image where the Auto Levels feature has been applied using the two different modes. When using RGB channel mode we see that the RGB levels histogram gets clamped leaving the individual color histograms untouched.

In Red, Green, and Blue Channel mode the individual histograms get clamped, which leads to a fully expanded RGB histogram. Again it is easy to see the benefit of using the individual channel mode in this case as it leads to a more clean green color of the trees, removes the blue cast of the distant trees and cleans up the color cast in the snow.

Tip 806 Img9RGB channel mode                                        Red, Green, and Blue channel mode

Picking a Shadow or Highlight point works differently depending on the Channel Mode:

When the channel mode is set for the default RGB channel, the Shadow and Highlight picker will set the corresponding sliders as well as any target value in the RGB histogram. This will ensure that the White Balance of the image is maintained, which is extremely important for many images

In Red, Green, and Blue Channel mode the Shadow and Highlight picker as well as target values will work in the individual histograms.

 

All the best,

Niels

 

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Automation in Capture One – a lesson in rocket surgery

Naming tokens have been a feature of Capture One for years. In 8.1 naming functionality was extended to include more tokens and in 8.2 we have expanded the functionality even further to generate file paths using the tokens. We call this Dynamic Locations.

Dynamic Locations enable you to filter output files automatically into relevant folders, based on the token you have chosen, e.g. color tag or rating. This enables you to organize your images faster and with consistency, reduce user input and increase efficiency.

The “Token”

But what is a token? At its core the idea of tokens has one function: Automation. It extracts some property, stores it and then inserts it in place of the token. For example, renaming an image with the [folder name token] would take the name of the folder the image resides in (parent directory) and use it as part of the name of the image.

grab1E.g. Batch rename tool using the parent folder as a source for naming.

By using the token instead of typing, much of the mundane and often complex ideas surrounding file management and naming is taken care of. It reduces user error and improves efficiency.

Token paths

“Token path” is a new workflow concept of Capture One 8.2. It has been developed as part of feedback from the Phase One Certified Professional program along with input from the ex-studio techs working in Technical support. It builds on the existing logic of naming tokens for file names, but instead builds file paths (folders) based on the extrapolated data.

For example, color tag in Paths makes a folder called Red for any red-tagged images whereas the color tag token in the name string would process files with the relevant color tag as part of the name – e.g Red_001.jpeg.

Using tokens effectively

The first step when trying out tokens for import or output is deciding the “root folder” on which to build the path. For importation in a typical session this is the “Capture” folder, and for output the “Ouput folder” Any tokens then used in the sub path field will build on this location.

grab2Tip: Try and keep everything relative to the session to make the session compartmentalized and structured. It is important to remember any folder can be actioned as a Capture folder or Output folder. The token paths will then obviously use this as the starting point as the sub path.

grab3E.g. the result of using the token in sub folder (above) will be Output/Red/image.jpg if you process a variant with a red tag.

Here are some use cases and examples of how tokens might help you take control of your workflow:

Import

One of the most tiresome import tasks is to organize volumes of images by some sort of metric. Date is the most obvious but there are others: file type or serial numbers from multiple cameras for example.

By using the date tokens in the import subfolder field, images are imported and then filed into folders based on the parent image exif date. A large travel story shot over a number of CF cards can then be quickly organized into folders named according to the day it was shot.

grab4E.g. Set up for importing by date. I’ve set the Capture folder to the destination then used [YY][MM][DD] tokens in the subfolder path. This makes a single date folder inside Capture but I could get creative and make a more nested structure like [YY]/[DD]/[MM] and make Capture/2014/02/14/ for example.

 

grab5E.g. The importer going to work on over 1500 Raw files shot over two weeks. As new exif dates are discovered, a folder is made and the relevant images piped into the folder.

 

Tethering

If you are on the case with your shoot prep and make the folders ahead of time you can use the folder name as part of next Capture naming. Then when I change folder, then naming follows. On a high paced set this kind of smart planning pays dividends.

grab7E.g. An example extracting the name of the folder I’m shooting to into the file name.

Batch rename

Tokens can be used for batch renaming. With the new IPTC tokens this opens up huge renaming possibility.

grab8

grab9E.g. Batch renaming files using tokens (e.g after deletions) is an easy way to restore numbering and chronology.

Processing/Export

Probably the biggest use-cases for the token paths is Processing. Replicating the input structure in output, division of rating by folder or making collections of images in folders named after some IPTC element (say photos of a location or persons name). A whole shoot, processed to hi res tiff and web-jpeg copies, sub divided into star rated folders? No problem! The file type and star rating token in the sub path will have this done in no time.

grab10E.g. Sending a mix of tagged and star rated images to output, organizes the images into folders first by tag, then subdivided into rating.

Every recipe has the ability to define a “sub folder” and therefore use tokens. In the output tab there is an additional tool called output location. This sets the “output” folder (same as right clicking a folder in the library>set as output) that can also define a sub folder. Why two places? The two can be mixed! This allows you to define a static element, and then build a recipe-specfic element on top. See the advanced tips below.

Advanced use

Every token has its own variables. For example if I were to use the token: [orientation] in my processing subfolder field, and process a mixed batch of portrait and landscape images I can expect the output folder to contain two folders in output after processing (as the two variables of orientation are “Portrait” and “landscape”). The relevant images are then piped into each folder.

This idea becomes immensely powerful when you look at the kind of tokens available and the workflow data available: date, rating, document names, folder names, file types and metadata.

Like name tokens, path tokens can be combined or mixed with text elements Further nesting beyond 1 folder level can be done by using the applicable OS path delimiters – “ / “for mac and “ \ “for windows: eg. (mac) Output/[parentfolder]/[colortag]

grab11E.g. The result above will be Output/Selects/Red/image.jpg for variants marked with a red tag

 

The output location tool also has a subfolder field which can be used in conjunction with recipes. This allows the user to build a static element and then each recipe builds on this.

grab12

E.g. In the above example, the output location extracts the Recipe name resulting in Output/Tiff final AND Output/Web jpeg 50 (as two recipes are enabled). The sub folder in process recipe is the same for both recipes – Selects/Colortag. This is then built in each output folder to give:

Output/Tiff final/Selects/red/image.tiff
Output/Web jpeg 50/Selects/red/image.jpeg

Final words

The matrix of what is possible is near infinite and can get pretty complex. Getting the best out of it means understanding the variables for each token and testing it in your workflow. Most of the workflow examples here are session based but the ideas are just as valid for catalogs. There’s no reason why it can’t be adapted to your preferred workflow.

Want to know more about the Dynamic Locations? Check out this on-demand webinar.

Best regards,

James

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How far can you go with Capture One 8.2?

Our Image Quality Professor, Niels V. Knudsen, took the shot below of his rental car some years ago while on vacation in the sunny American desert.

I will use this image (with intended room for improvements) to really illustrate just how easy and powerful the creative tools are in Capture One.

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Powerful Adjustment Layers

With the update to Capture One 8.1, the maximum amount of Local Adjustment layers increased from 10 to 16. This is an example of how far you can actually go in Capture One, using Local Adjustments in an intelligent way.

In total I used 14 Local Adjustment layers for this image. I won’t go into details for every adjustment and provide specific examples, as not all of them are equally important. However, I’ve mentioned each adjustment in the text so you can follow along.

Healing the road

The first thing on the list of improvements was the road. I used three healing layers in total. One heal layer helped to remove some of the undesirable elements but all three helped to retain the detail and tones of the foreground.

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Fixing the color temperature

Next I wanted to fix the White Balance between foreground and background, shadow and highlight. The area in shade was masked in and the white balance kelvin was increased by ~2500K. I then created another layer to clean up the image, removing the moon in the corner and any signs of dust with two healing layers. The image is well on its way to professional polish! See below.

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I then went ahead and created a gradient layer for the sky, changing the exposure and color to a more pleasing tone. Still within Local Adjustments, I went to the Advanced Color Editor, picked the color of the sky and changed the hue, saturation and brightness just slightly. See screenshot below.

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I also decreased the Exposure and increased Saturation for the masked area. In the next steps I added a little Brightness and Contrast to the car, along with adding some “dullness” to the mountains in form of less contrast, less saturation and more highlight recovery. This helps in increasing the focus on the car.

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This next step was to increase the light, contrast and saturation to the horizon line that lies in shade, creating a bit more separation between the asphalt and the sunlit mountains. I also added two soft masks to darken the asphalt around the car, which helps the focus on the car even further by adding a custom Vignette effect.

 

07

In this step I added Contrast overall, a bit of High Dynamic Range adjustment, Clarity (both overall and Structure adjustment) and a bit more color change to the sky using the Advanced Color Editor. This helped to create the micro contrast that’s very important for images in this style.

The dust specs in the sky were removed. I went in and added a tiny bit of Negative Clarity, as well as Negative Structure to the car with a Local Adjustment layer. This was to distinguish the car’s detail from the asphalt and the mountains surrounding it. Again, this adds necessary focus to our subject.

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Finally, with the new Color Balance Tool outside of the Local Adjustment Tool, it was very easy to give the image the overall toning I wanted. I added some turquoise to the Shadows and some orange in the Midtones as well as the Highlights. The complimentary tones do wonders to emphasis the composition of the image and it adds to the look I was trying to achieve.

As the crowning detail I added some text filled with gibberish and a homemade logo to a separate document and imposed it over the image with the Overlay tool to get an idea of how a final mock-up might look. I think it’s safe to say the image came a long way. I present to you the brand new Awesome SuperCar, brought to you by Capture One Pro 8!

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The before-image for comparison:

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Best regards,

Alexander Flemming

 

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