This NEW Capture One Feature Changes EVERYTHING | 16.5

I'm really excited about this new version of capture 1 that was just released it's going to be a game changer for commercial photographers there's some features in here that are going to be great for every photographer but there's one feature that's going to be phenomenal for people like me before I get into this video I need to let you know that this is not a sponsored video it is however a video that was requested by capture one they have given me a one-year license for their all-in-one tier they have no editorial say they don't have to anything I don't have to pass anything by them they in fact said they want my honest opinion and feedback so while this is an open and honest review because I now have a financial relationship with capture one I not completely objective so keep that in mind okay so this is capture 1 version 16.5 and you can get it as a standalone license for capture 1 Pro um with updates through all the sub versions of 16.5 you can also get capture 1 Pro on subscription they have the pro subscription they have an all-in-one subscription and they have capture 1 Studio which is a version of capture 1 that has some more advanced features you can find a video in the description below of the differences between capture 1 Pro and capture 1 Studio that I created when that came out and I'll link to that okay so we're going to start off with the performance improvements we have some quality of life improvements for tethering and new to this version uh we have a notification sound that will go off when a camera is connected or disconnected so if you lose your tethering connection uh while you're shooting you will get a notification sound to let you know that the connection has been severed and then when you successfully reconnect your connection that notification sound will go off again we also have new error messages and the error messages have been Rewritten to give you uh actionable advice like here's the problem here's what to do uh one of those error messages is to indicate whether or not your camera is supported and another one is to let you know if your camera is busy in another application so on the toolbar now we have a battery icon um and also the capture icon now shows uh whether the camera is connected or not and the battery icon is going to show you how much life is left in the battery in the studio only version there are a number of updates to the client viewers so client viewers can Now display guides uh the overlay tool before and after slider uh crop overlays AI crops can all be displayed in the client viewers you can now also display multiple images in the client viewers using the follow select or the pin selected modes and you can pin multiple images uh in the client viewers uh when you're choosing pin selected for iPhone users you can now change the base characteristics from the Apple Pro raw to capture one's Pro standard which is a better profile for iPhone as an Android User I would like to see profiles developed for Android phones such as my Google pixel my guess would be that most Android raw profiles are going to be similar and Android phones have had the capability to do that longer than iPhones have so it's a little frustrating for me that Android users and windows users tend to get left behind in the development cycle of Capture One products I would like to see more attention paid to non-apple users in just across the board iPhones only have 25% of the global market the other 75% of us the majority of us that outnumber iPhone users 3 to1 use Android I would like to see development for Android uh in the future so starting with capture 116.5 which is this new version capture one is introducing content credentials and these are verified credentials that can be embedded into a JPEG file or a tiff file at the export level you can now do that in the export content credentials tool separate tool that you can put in your tool tab content credentials embed credentials into the content itself so what credentials those are are like who the producer is that would be me or you as the producer of the image you can also indicate like what adjustments and have been made to an image you want to keep in mind that this is currently in beta and it's going to be in beta for a while because the open- source libraries that Capture One Is Us using from the Coalition for Content Providence and Authority those open-source libraries are themselves still in beta now this does require an internet connection I believe the request is sent up to the server the credentials are uh created at the server level and then they're sent back and embedded into the file we're only increasing the file size by maybe 10 kilobytes to 100 kilobytes which is insignificantly small okay so similarly we can now sync our settings through Cloud settings which aims to simplify the the management of your preferences and customizations uh across multiple devices now this is great I work off of my desktop and my laptop at the studio the fact that I can now sync my keyboard shortcuts across both my devices is wonderful your settings can also be synced to the iPhone and the iPad apps the mobile apps for capture one and so you can uh take your local settings um move them up to the cloud and then pull them down into your iPad or your iPhone and have those settings there there is some compatibility across operating systems we cannot sync keyboard shortcuts or workspaces from Mac to Windows or Windows to Mac they can only sync from Mac to Mac or Windows to Windows but Styles and Export recipes presets those will all be able to sync across all devices but here's my problem with this again from me to sync my settings from my desktop to my laptop I need an all-in-one subscription and I don't need an all-in-one subscription because I don't have mobile devices that can run the Capture One apps it's a little frustrating to me that because I don't own Apple products and I don't have a use for the all-in-one plan that I can't sync my settings from my desktop to my laptop it seems like a massive oversight as an Android User as a Windows user as specifically a non-apple user I should not have to go to a subscription plan that's an extra $100 a year just in order to sync my settings you can't sync your settings because you don't use the mobile apps that's a major oversight and I and I think that's really going to frustrate and annoy a lot of people myself included but I don't know what do you think let me know in the comments I'd like to know what you think do you think it's a mistake to require people to have a higher tier subscription just to sync their settings across their computers or add content credentials to their images like let me know in the comments let's let's have a discussion about this okay so now I want to focus on the two new features that I'm uh incredibly excited about uh and these are really great okay the first one is people masking and you'll find this in the layers and masks tool right beside its counterparts of the subject and background masking so just like like the subject and background masking features it uses AI to create Dynamic masks now if we go up to the layers and masks tool and click on the drop- down icon on the people mask button you'll see that we have a number of options body skin which will mask out just the skin on the body the face skin which masks out the face and the skin on the face specifically eyes which will include the Scara the white part of the eye um the iris the pupil it includes everything in the eye there's no different differentiation there eyebrows lips and hair so if you select just one of these and then click create mask capture one is going to use its AI masking you can see that here and it's created a new layer with just that section of the image masked so if I select body skin and click create mask it will mask just the skin on the body similarly if I select face skin and and click create mask it will create a mask labeled face skin just for that section of the image now if I select body skin and face skin and click create mask it will create a new layer simply called Skin Mask with that mask so it's smart enough to know that if you're selecting the face and body together that it's you are selecting all of the skin what you'll also notice is the speed at which they do it once an AI people mask has been created for an image as long as you don't create an AI mask for another image capture one has already done the work of breaking this uh photograph down into its component parts as far as the people mask goes and so when you add a new mask then that will be done uh almost instantaneously it does not do that for the subject mask or the background mask those still every time you click them are going to generate a fresh mask and capture one is going to analyze the image every single time to create a fresh mask so now these people masks like the subject and the background masks are dynamic mask that means if I create a mask on one image and I make some adjustments to that layer and then I copy that uh layer with that mask to another image it's going to create new masks for the new image based on the mask type in the primary image so if I'm just copying the face from one to another you can see that it's creating a new mask for that new face but copying all of the adjustments that are on that layer as well and you can do this for multiple images as well as long as you have edit all selected variants turned on in the app now something to note here is that if there are multiple people in an image capture one cannot currently distinguish between any of the people and I say currently because we didn't have ai masking even two years ago so the fact that we keep getting these improvements and this Improvement is like phenomenal maybe they'll have one in another version I don't know I don't have that information this now is the worst it's ever going to be so going back to that it can't identify if there it can't distinguish if there are multiple people in an image it just looks for all the hair and will create a mask of all the hair so what I do in an image with multiple people is I use the people masking tool to create the mask layer then I duplicate the layer and then for each uh layer that I need I will go in with the Eraser brush at 100% flow and just erase the part of the mask that I don't want on that layer that I don't want to be affected by that layer now does this take time yes is it still a billion times faster and a million times more accurate than me trying to mask it out on my own also yes this is a skill that I'm I lack and so I'm really happy to have a computer do the work for me and for me to just go not this part so this is going to save me a ton of time and what I've also done with this and I'm going to have this in a future video um so this video isn't like 5 hours long is I I take this whole layer setup to a lot further subscribe you know what you're going to want to subscribe to get notified when that comes out because uh that's coming out soon and um I'm really excited to show you some uh hacks that I use to make capture one uh a lot faster for me so that brings me to the feature that I'm most excited about and that is match look this is going to be revolutionary for commercial photographers and I'm going to get into that in a minute but I want to First explain what this tool is and what it actually does and and show you some examples here match look is essentially a much much much more advanced and sophisticated version of the smart adjustments tool it has the same normalization functions as smart adjustments with exposure and white balance so it can generally replace the smart adjustments for you but it's not limited to just people and faces in the way that smart adjustments are smart adjustments require a face and they work really only for portraits and really for like one person in an image at a time in match look we have options for light and contrast settings so the contrast the brightness High dynamic range sliders levels and the Luma curve so that's light and contrast for color adjustments that would be the saturation slider all of the options in the basic color editor and the black and white settings and color tone so that's the color balance at the Master Level and the Shadows tones and highlights and Curves in the color channels so where the light and contrast has the Luma curve the color toning H uses the Curves in the color channel the curves will be adjusted independently of one another if you use Smart adjustments in your workflow don't worry that's not going anywhere it's still there but honestly update your workflow because this is this is mind-blowing this is so great I want to take a look at some examples of match look here uh in effect all right so let's let's take a look at this image this is from that same test shoot I did uh a while back now I have made a number of changes to this image already and I want to use this as my reference image now what I can do is uh I'm going to turn these options off no light and contrast color adjust or color tone and just stick with the normalization functions I'm going to set this as a compare variant so we don't lose it I'm going to click on another image here on the match look tool I'm going to to only use normalized functions and I'm going to hit apply at 100% And you'll see there is some changes not everything's uh as exactly as I would want it now if I click light and contrast and color adjust and color tone and now hit apply now I've got something a lot closer to what I want and I can do this for a number of images as well I'm going to select a few of those hit apply and you'll see the adjustments being applied across those images and we can zoom in and take a look at one of these come in we can see the adjustments that have been made and if we look at the other image the original reference image you can see the changes are different and we're not getting Clarity so that Clarity I'm just going to punch through on all of the images here and so now we have much closer uh look in terms of what I'm looking for from my final image obviously not everything is the same I would want to come in and make some adjustments on my own but that gets us a heck of a lot closer than where we are uh from here uh to here okay next I want to take a look at uh this image here so if we look at the before and after on this we've gotten some heavy adjustments I also have a number of layer L adjustments here so what I'm going to do is I'm going to turn off these layer adjustments and that leaves of just my Exposure My High dynamic range and my clarity now I have a number of different looks finished for this image so that we can see how that will apply across a subset of images so let's take a look at this image here this color image uh let's pull up this image here make sure I'm resetting this and know set that as a compare variant so we can see what's happening now I'm going to well so in match look I'm going to set this as the selected variant and then I'm going to click the image that I want to apply that look to and I'm going to hit apply and then instantly we get something that's uh heck of a lot closer to uh our finished product and we can do this across uh multiple images at the same time we just select them hit apply and that's going to apply a very similar look so we instantly have some consistency across the full range of images and across the entire shoot now I'm going to take this black and white image and set that as my reference also set it as my compare I'm going to select a number of images here now I'm going to hit apply and let's apply this look to these images and this is just such a I'm so excited about this all right so so here's why I really love this for me uh and for you but mostly I love it for me I'm really bad at maintaining a sense of consistency in my images across a shoot like I get ideas into my head I'm like a this would look cool this way I'd like it to look this way and so it requires a lot of discipline and work for me to like try and match a look and I'm not I'm just not good at it let alone being able to have consistency and matching a look across my whole portfolio and a specific style because I spend a lot of time in editorial photography I'm used to creating a look for a specific shoot for a specific person whatever the topic was and the mood was of that story and so I would try to create images that match that story but also when you're shooting for different magazines each magazine has its own visual language and visual look so you sometimes might need to adjust the way you're processing an image or even shooting an image to match the look and the tone of the magazine a photographing an executive is going to look very different than photographing like a skate punk band for a music magazine earlier this year when I updated my portfolio one of the things that I was striving to do was to create a more unified and cohesive look and feel to my work I created some Capture One Styles and I processed uh old images with these new Styles but because the styles were hardcoded I had to spend a lot of time going in and making adjustments to the change like like sometimes it's just like this doesn't look good but like a match look is going to change all that because you'll be able to take an image you can just drag a JPEG on there it doesn't even have to be in your catalog or your session you can just be a file that you're grabbing from a folder on your computer and dragging it into that reference area you can take your best images the images that you feel best represent your style and you as a photographer you can drop them into the reference panel in the match look tool and create a preset based on your work right so if you're a wedding photographer and you process a lot of weddings you can gra gather some of your best images you can save those as presets and those looks you can just use the preset in the future to apply to an entire wedding it's like it's mind-blowing let me know in the comments how you're going to use this tool I'd like to know and get some other ideas from you guys as well while match look is going to be amazing for almost every photographer out there for commercial photographers like me it's going to be phenomenal in a very specific way that I have not heard or seen anyone mention at all and that is video check this out okay here's where things really start to get interesting I am in Da Vinci resolve and this is the color page of Da Vinci resolve I have this one clip on the timeline no audio I'm going over to the color page where I have a a node tree setup uh for color Corrections I'm going to explain to you what is happening in this node tree if you don't understand this you should probably learn how to do this the interplay here between capture one and resolve is getting really interesting so uh I have a video there's a little clip here's some videos from the same shoot and I'm just going to uh hold this video right about here and so I've got a frame and uh what's happening in these nodes uh is this is where you can make adjustments and and the way that they're applied can be serial or in parallel to each other uh these are serial nodes here and these are parallel nodes here and I do my contrast High dynamic range and H adjustments in parallel to each other all coming out of the same source and then merging and then moving forward so in this first node I have a color space transform and I'm going from uh Canon log 3 into Da Vinci wide gamut at Gamma 2.4 and then I have contrast node HDR and Hue and these adjustments are made down at the bottom here then I have another color space transform to take us out of Da Vinci wide gamut and go into Rec 709 and then I have applied a l and the Luts that come with uh Da Vinci resolve I have applied this uh Rec 709 Kodak 238 3 d55 and so 2383 is a standard film stock and so I'm giving it that a bit of that film look going back to the gallery the gallery gives us this uh spot where we can store our Stills if I take my tool and I write click on this image I'm going to find a spot here I think that's more representative of what I want I'm going to right click I'm going to grab this still now what this does is uh this creates a look so if I get rid of these nodes here and then I click this still and I say apply grade you can see it's like a preset so it just applies that grade back to where I want it and I can use that throughout the the shoot but where this gets really interesting is now I can take the still and I can click export I'm going to store this back in here and I'm going to call this uh look one nice and simple and I'm going to just export that file now it has the da Vinci resolve Grady file and it also gives me a still and this is a PNG file what I can do is go back to capture one here and then I can just drag this still right on to match look you see where I'm going with this and now I can hit apply and it is matched the look of the still to the look of the video and now I can come in here and I can just make some small adjustments and I am so much closer to matching this look then uh this this would have taken me forever you just trying to do it by by you know flipping back and forth having the screens over they're not perfect but it's so much better than anything that we've had before you don't need to have an image in capture one to be able to use it to match the look of that image now what's really great about this is I can take this image from this video shoot and I can create a custom preset and I can call it kpr test Megan and now that way I have this and I can apply it this look to other images and all I have to do is I I can just disable the color adjustments I don't want to change my color editors but I can keep the saturation and the tonality I don't want to change change either so I want to keep the the contrast the light and the contrast and I don't want to match the white balance so now I can take that look so now I can take this look and I can apply it to another image and it gets me more consistency across the shoot and the video across the multiple Assets in in the different uh modalities from Stills to video so I can take the look that's been applied to the video and match that look in capture one on the still images from the same campaign so we are now matching looks from video to still and as commercial photographers nowadays we need to be able to shoot both Stills and video so this is going to make everything help make everything at least look more consistent across the whole campaign but now that we can match looks from video to still I have a feeling it's not going to be too long before we can match looks of Stills back into video so the workflow can then go both way like that that is mind-blowing that is the game Cher right that is an absolute game Cher for commercial photographers being able to consistently match the look of the videos to The Stills across the shoot uh let me know in the comments what you are going to be using these features for and if you like these features and if you don't like these features subscribe turn on your notifications I'm going to have a video coming out soon that will show you how I make things uh lightning fast in Capture One