If not, check the histogram on the back of your camera, it should help. If you shoot tethered be sure to keep an eye for that. When shooting for this kind of look, I keep the highlights on the face at around 200-220 in the red channel.
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Let’s move on to the exposition tab where we are going to adjust our image exposure. When shooting in studio with little-saturated clothing, the settings I used below should work just fine!Įnough with the colors for now. Feel free to play around with each slider, because depending on the colors you have on your shot, you may need to add saturation to the blue and yellow channels, perhaps even shift the hue of the purple to more blue or the red to more orange.
![capture one cinema presets capture one cinema presets](https://enviragallery.com/wp-content/uploads/2020/06/screenshot-11-1.jpg)
So we are going to tone down the magenta, purple, and red while leaving the other channels to their default settings.
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The color editor will let us edit each color channel individually. To get a cinematic look, I want to mainly keep blue, cyan, orange, and yellow in my shot, but remove or desaturate the other colors. Then we are heading down to the color editor, which should be right below your color balance tool. Be sure to keep the adjustment very subtle, the color balance tool is fantastic, but it’s easy to go overboard with it! For now, leave the luminosity slider alone, and only use the color wheel and saturation sliders. Note that the slider left to each color wheel adjusts the saturation and the one to the right the luminosity. Because the color balance is designed to adjust the shadows, mid-tones, and highlights individually, it’s the perfect tool for the look we are going for! Let’s add a bit of blue in the shadows, cyan in the mid-tones, and orange/yellow in the highlights like so: The cinematic look is usually cold with blue or cyan in the shadows and yellow or orange in the highlights. We are going to skip the master tab, and head straight to the 3-Way – if it’s not precise enough for you, use the three following tabs which act the same. Using the default Capture One Pro 10 workspace, you should find the color balance tool right below the white balance. If you adjust it afterward, you may need to readjust everything we are going to do. White balance may not seem like a big deal, but it will significantly affect the rest of the workflow.
![capture one cinema presets capture one cinema presets](https://cdn.filtergrade.com/wp-content/uploads/2024/02/29151047/Cover-7-1367x2048.jpg)
If you shoot a gray card, be sure to use it, if not, press the A at the top of the white balance tool and then adjust manually until you feel like your image is neutral. Let’s head to the color tab and adjust the white balance to obtain a neutral result. Let’s start with Capture One Pro 10 opened with your latest beautifully shot and lit portrait. Your workflow, your preference.The tutorial will concentrate on portraiture, however, if you are a street, landscape, or still life photographer, most principles can apply. Suppose you're working with other versions (21, 22, Capture One for iPad) or prefer the existing functionality of applying Styles to the background or a single Layer – in that case, all Style Packs include a standard version you can install. Only version 23 supports Layers in Styles. They add drama and depth to your photos, giving them a cinematic look, w hether you're a portrait, landscape, or street photographer, Cinestill presets are a great choice for achieving a unique, filmic quality in your shots.Ĭapture One Pro 23 has arrived, and you can now add multiple Layers to your image through Styles and adjust the opacity of each Layer for the best look. Cinestill Capture One Styles Presets create a cinematic mood with a dark, warm tone.