Capture Pane: Tethering
Capture Pro 6 supported tethering on Nikon and Canon cameras, but it only supported Live View on medium format backs. I discussed this with the Capture One team at the time, and they promised to look into it. The new version now fully supports Live View on the D3 and other bodies. For some applications this is a nice-to-have, but for team-based professional work it substantially lifts the offering. This is because, as well as enabling you to see on screen what you're shooting, Capture One supports Capture Pilot on iPads and iPhones meaning that everyone on your team can see what you're doing and view the images as they come up.
Compared to everyone trying to squidge behind the camera and give their comments on the composition and lighting, tethering is a big improvement. Capture One Pilot takes this a stage further so that the art director can get an immediate update, and the client (if present) can be shown what's going on.
If you're shooting with lights, Live View is not such an advantage as you might think, because modelling lights never really reveal what the lights are going to look like — this may be one reason why it was missed out in version 6. However, the combination of Live View and Capture Pilot gives you almost total previewing and control.
If you want to take absolutely full control, there's also a plugin for Capture One for controlling Profoto lights. As with the computer hardware that Capture One requires, you need the latest Profoto lights with AirSync. Unfortunately for this review, my Profotos are a generation too old, so I wasn't able to test that particular feature.
While tethering you have complete control over program, shutter speed, aperture and so on, and you can pre-apply settings such as white balance so that — after sorting out the exposure and colour temperature on a test image — you can have ever image come straight into the computer ready prepped. This may sound like a specialist refinement, but once you get used to picking the white balance with the colour picker on screen, it makes for a very quick workflow.
Colour Balance and rendering
Compared to version 6, there is just one change to the colour balance panes, but it's a very significant one.
As a default, all images previously processed in Capture One 6 continue to be processed in the same way. If you click on the Upgrade button, though, you move to the Capture One 7 engine.
Version 6 Engine
Version 7 Engine
The difference is subtle, but significant. Difficult colours such as purples render much closer to the original intent, and there is better shadow detail and colour integrity in the shadow areas. In the examples here, note the bluish colour cast on the arm in the version 6 render which has been entirely defeated in version 7. Note also the better luminosity on the dresses, ad the improved colour on the flowers in shadow.
Images which were fine in version 6 will be fine in version 7, but those tricky images will be enough improved to make a significant difference. This may well be worth the price of the upgrade in itself. The old engine was widely considered to offer the best rendering of any competing product (I'm not looking for a flame war here!), and this improvement may in itself be enough to persuade you to jump from your current system to Capture One.
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