The GetDPI Photography Forum
Great to see you here. Join our insightful photographic forum today and start tapping into a huge wealth of photographic knowledge. Completing our simple registration process will allow you to gain access to exclusive content, add your own topics and posts, share your work and connect with other members through your own private inbox! And don’t forget to say hi!
Share your capture one/RAW workflow!
- Thread starter haring
- Start date
I'm a decided new user to C1 (only started in V6) but I'll share how I deal with the C1/raw workflow. This is not definitelly set in stone yet and I'm sure there are some optimizations I can make.
1. Import images to C1 using the dialog from the memory card (images backed up to another hardrive on site at this point). I don't rename images and they are stored in a Location->Date structure (i.e. Canada/Alberta/Lake Louise/2011)
2. Images have appropriate metadata added to them (generally with presets).
3. I cull the images at this point and apply star ratings.
4. I do almost all my editing in C1 at this point (start with the highest star rattings). I've got a series of presets to start things off - but my experience is that eash file will need some special attention to get the most out of it.
4a. For some steps (cloning out large objects and panoramic generation) I generate a 16-bit ProPhotoRGB tiff file to use in PS.
5. I output the required images using the C1 utilities as well as a series of PS actions/droplets. This is where the images will get specific (and meaningful) names based on what they are used for.
6. My entire Image library (including the backup generated in step 1) is backed up once a week to an external drive that is stored off site.
I realized that this is a very general overview - if you have any questions about the specifics I'd be more than happy to share.
1. Import images to C1 using the dialog from the memory card (images backed up to another hardrive on site at this point). I don't rename images and they are stored in a Location->Date structure (i.e. Canada/Alberta/Lake Louise/2011)
2. Images have appropriate metadata added to them (generally with presets).
3. I cull the images at this point and apply star ratings.
4. I do almost all my editing in C1 at this point (start with the highest star rattings). I've got a series of presets to start things off - but my experience is that eash file will need some special attention to get the most out of it.
4a. For some steps (cloning out large objects and panoramic generation) I generate a 16-bit ProPhotoRGB tiff file to use in PS.
5. I output the required images using the C1 utilities as well as a series of PS actions/droplets. This is where the images will get specific (and meaningful) names based on what they are used for.
6. My entire Image library (including the backup generated in step 1) is backed up once a week to an external drive that is stored off site.
I realized that this is a very general overview - if you have any questions about the specifics I'd be more than happy to share.
1) Import with key words into session >
2) Apply my basic "Style" to all images >
3) Sort/rank (this is an optional step for me depending on the shoot) >
4) Adjust keepers. (NOTE: What actually goes on here is the subject of a book, and cannot be condensed to a short list in any meaningful way; this is where the art and magic happens and we spend hours at a time teaching separate parts of this on our workshops.) >
5) Process out finals /
On the process out, I sometimes will use C1 to generate a web-sized jpeg, and it does a decent job. However, more often I'll take my full tiff into CS, apply any local adjustments if needed then use my web converter actions to generate the web jpeg. In this fashion, my web jpeg more closely represents what my "print" tiff looks like. I can then add my custom border as well. Because of local adjustments, final output sharpening and print curves, I print out of CS and not C1. I am not a high-volume printer and have excellent profiles for the papers I use, so find CS printing entirely satisfactory for my needs and have no burning need for a dedicated RIP.
2) Apply my basic "Style" to all images >
3) Sort/rank (this is an optional step for me depending on the shoot) >
4) Adjust keepers. (NOTE: What actually goes on here is the subject of a book, and cannot be condensed to a short list in any meaningful way; this is where the art and magic happens and we spend hours at a time teaching separate parts of this on our workshops.) >
5) Process out finals /
On the process out, I sometimes will use C1 to generate a web-sized jpeg, and it does a decent job. However, more often I'll take my full tiff into CS, apply any local adjustments if needed then use my web converter actions to generate the web jpeg. In this fashion, my web jpeg more closely represents what my "print" tiff looks like. I can then add my custom border as well. Because of local adjustments, final output sharpening and print curves, I print out of CS and not C1. I am not a high-volume printer and have excellent profiles for the papers I use, so find CS printing entirely satisfactory for my needs and have no burning need for a dedicated RIP.
Ario Arioldi
Member
My workflow at present is based maily on LR which I use for DAM, editing and printing, but in same case I love to take advantage of certain peculiarities of CO as raw developer, such as skin tone control and local adjustments.
All my raw files are imported from cameras/cards via LR and saved into dedicated HD's.
The raw files to be developed in CO are exported from LR to CO, without LR adjustment, via a plug-in called "Open Directly" by John Beardsworth and afterwards saved in a LR watched folder so that they are re-imported smoothly into the LR catalog.
All my raw files are imported from cameras/cards via LR and saved into dedicated HD's.
The raw files to be developed in CO are exported from LR to CO, without LR adjustment, via a plug-in called "Open Directly" by John Beardsworth and afterwards saved in a LR watched folder so that they are re-imported smoothly into the LR catalog.
I'm currious if people are using a single session for all images, or if you break the sessions out depending on the shoot. I can see the advantages of having multiple sessions from a speed point of view, but are there other advantages?
Also - are folks processing all there keepers into tiff files? I've only ever generated a tiff for when I need it for printing (and a few other specific outputs) & when archiving images.
Also - are folks processing all there keepers into tiff files? I've only ever generated a tiff for when I need it for printing (and a few other specific outputs) & when archiving images.
I've debated over whether the final print-ready file should be a tif or jpg.
my reasoning so far:
since all the processing (and saving) has been done while a tif, it was losslessly saved and could also have been 16 bit.
as far as printing goes, I'm not sure, but the thought is the print file itself could be a high quality jpg, since all the image tweaking had already been done while a tif and no consecutive saves of the jpg need happen and i am not sure if 16 bit is needed at this point.
comments?
my reasoning so far:
since all the processing (and saving) has been done while a tif, it was losslessly saved and could also have been 16 bit.
as far as printing goes, I'm not sure, but the thought is the print file itself could be a high quality jpg, since all the image tweaking had already been done while a tif and no consecutive saves of the jpg need happen and i am not sure if 16 bit is needed at this point.
comments?
Number Four above is what interests me! Let's hear more about "what goes on here is the subject of a book". I realize one can learn a lot from the workshop, but unfortunately there is rarely enough "doing" in a workshop for us older guys to retain all that might be covered. I hope there IS a book in the works Jack. I will be glad to purchase the book prior to its being printed! Charles
Last edited:
Color gamut. Your camera's capture space is larger than sRGB, and your printer's output space is larger than sRGB. Now you could save an Adobe jpeg, but to what point? Why compress when space is cheap. I process out everything destined for print to a 16 bit tiff, usually profoto, but sometimes using the camera profile embedded when extreme color accuracy is required.
I'm too freaking lazy to do a book -- I'd need a ghost writer and we know it couldn't be Guy :ROTFL:. But maybe Guy and I should do our own series of C1 processing "Secret Sauces" videos...
I think you would make more money on that DVD than on a workshop....but then I am sure the workshop would be much more fun. Charles
CharlesK
New member
I must thank Jack and this thread as it prompted me to use C1 Pro with the M9 DNG files.
My workflow is to use Adobe Bridge to download files, into specific meaningful locations.
The RAW conversion all done in C1 Pro vs 6.1.1, then exported to CS5 64 bit at ProPhoto 16 bit TIFF file. At this point of time, I find the M9 RAW conversions a lot better in C1 Pro than CS5 until Adobe have had a chance to catch up.
Printing is done in CS5 having Canon Pro 9500II printer, with the 16 bit drivers. This works very well with the colour management side.
Preparing images for the web, are done via "Jack's Web Presentation Workshop kit", in CS5. This is brilliant, and is about the best results I have seen so far for web presentation
I have added interim Smart Sharpen (0.8, 0.2) after downsizing the images in each step. This is then easily automated in Adobe Bridge via the Image Processor for a large batch of images.
My workflow is to use Adobe Bridge to download files, into specific meaningful locations.
The RAW conversion all done in C1 Pro vs 6.1.1, then exported to CS5 64 bit at ProPhoto 16 bit TIFF file. At this point of time, I find the M9 RAW conversions a lot better in C1 Pro than CS5 until Adobe have had a chance to catch up.
Printing is done in CS5 having Canon Pro 9500II printer, with the 16 bit drivers. This works very well with the colour management side.
Preparing images for the web, are done via "Jack's Web Presentation Workshop kit", in CS5. This is brilliant, and is about the best results I have seen so far for web presentation
I have added interim Smart Sharpen (0.8, 0.2) after downsizing the images in each step. This is then easily automated in Adobe Bridge via the Image Processor for a large batch of images.