DxOs Powerful Luminosity Masking Feature
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- Опубликовано: 4 окт 2023
- Recently DxO released FilmPack 7 alongside PhotoLab 7. Whilst there were several changes in FilmPack 7, the most notable was a new Luminosity Masking feature. In this video I will explain how it works and demonstrate how it can improve your photo editing results. Best of all, it integrates seamlessly into PhotoLab 7, allowing you to use the new Luminosity Masks there also.
Download your trial version of FilmPack from the DxO website: tidd.ly/3NPNOh7
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Why do we have to buy the Film Pack for Luminosity Masking? Shouldn't it be part of PhotoLab 7? I, for one, have no use for the Film Pack. Thanks, S
That is the reason I do not intend updating from PhotoLab 6. Each and every other piece of software has luminosity mask. Here it is available for additional 100€ (don't remember the price).
Agreed. I hate how they did that. Probably an attempt to get people to buy both, but that makes for a hugely expensive update when you don't want film emulation.
@@pawl_s I think that they have misjudged. Put luminosity masks into PL7 and I’ll upgrade from PL6 without hesitation. But I have no intention to use FP, with or without luminosity masks, let alone pay for it.
Planning to use Pl6 to the end of time. Never another penny for these dxo marketing clowns.
@@spcole don’t understand it either. Hopefully for them, they know what they do.
Great demo/video, thanks. It's a shame DxO have become greedy, positioning Luminosity Masking in the Filmpack of which I have no other interest. Time to re-evaluate apps where it's included!
Agree with this, especially as I'm a long term Nik Collection fan, and there has been similar comments on the DxO Forums. I believe it would have been more reasonable to include the feature within PL7 Elite.
I Also found luminosity masking in PhotoLab 7 in the local adjustments.@@kirklaws-chapman7281
Great demo, I too realized how useful this function is when I have to separately tone Mount Fuji from the sky and foreground, especially when I needed strong dehaze for just the body of the mountain.
Thanks. It's very useful and impressive I think.
Robin, nice video. Is there a feathering option such as "Blend If" in Photoshop to control the hard edges of the luminosity range? If so, this is great to see! Thanks.
Thanks for the vid. Am I mistaking or? I thought Luminosity Mask are not supposed to affect color? Thank you for any replies.
Thank you for the excellent review! I'm curious to hear your thoughts on comparing DXO FilmPack 7 and Dehancer Film. I'm particularly interested in achieving more of a cinematic look for my still photos with relative ease. While film simulation is fantastic, I'm seeking a tool that can quickly and easily transform my photos into cinematic scenes. Any insights on which option might better suit my needs would be greatly appreciated.
I'm probably not the best placed person to comment as I don't work much with cenematic films. I love the renderings in DxO Filmpack and there are a lot more of them. My gut feel is that Dehancer probably has the better range of cinematic films while FilmPack has more print film. Filmpack also has the better editing tools but Dehancer has some effects I haven't seen elsewhere. Their bloom feature is wonderful. The best advice I can give is to download the trial versions and test them out on your own photography.
Thank you for the tutorial, Robin. I'm relatively new to the digital darkroom, and even more new to DxO: I only began using it last year (PL6, now PL7).
I've a bunch of Ilford HP5 and Kodak Tri-X under my belt, so I'm familiar with the Zone System and still use it when evaluating a scene prior to pressing the shutter. How does the Luminosity Mask in FP7/PL7 compare with that in Affinity Photo 2, given the wider tonal range available on digital versus that of film?
I'm sorry. I'm not really following the quesion.
If I compare the Film Pack and Affinity Photo luminosity masks, they both offer the same ability but in different ways. I can't say that one is better than the other in terms of results, it's really which one do you find easiest to work with and which has the features you want. I'm also not sure I agree with the point that digital has a wider tonal range compared to film. Yes it may have compared to some films but not so others. It also depends on the capabilities of the camera and sensor as to how much dynamic range it can capture.
@@RobinWhalley Thank you, Robin. I apologize for being imprecise, but you answered the question nicely. I'll try both: I've just watched your tutorial, "Try This Curves Technique For Easy Luminosity Masks in Affinity Photo." And yes, I was overly broad in my characterization of film v. digital.
@@darylnd Thank you and please don't apologise. I just like to check that I'm not misunderstanding.
Thanks--I finally upgraded PL, FP, and Nik (Black Friday pricing) and have yet to even use them, but it's nice to see that the luminosity mask can be used in PL as well. I only wish that extended to Nik, as the cross-hatching in Silver Efex Pro is nowhere near as easy to see, especially in complex images. It would also be nice if DxO offered a bit of AI edge detection to mask more precisely than the U Point system does (maybe in the next-gen versions but it won't be free).
Good idead. I would also love to see the Luminoisity Masks extended to Nik. I think that would make an excellent editing tool.
Does the Fil Pack luminosity mask do anything that cannot be done with Local Adjustments Chroma/Luma sliders in Photolab?
You can use the Luma and Chroma sliders to select tones but not in the same way. For example, you could select the tones in only Zone 5 using the new Luminosity Mask controls. I doubt you could do the same thing with the Luma/Chroma sliders.
This is ridiculous to pay $79 for a Filmpack "upgrade" and the only real upgraded feature to speak of is the luminosity masking and then to tie it with a $109 Photolab "upgrade" so it can be used locally is absurd. Tony Kuuper's TK9 is only $33 bought out right and has a bazillion more features. I like it that DXO is adding the new features, but the pricing for features is way out of line.
100% AGREE!
So true. This is a kind of highway robbery. Even more so, because this is a feature being around in other raw converters for quite some time. I have been a loyal user of DxO products for years. It was ok for me to pay extra for the high precision of DxO. But this time I am really outraged.
it not that bad...At photography industry too competitive...and one trip should already earn 5k-50k plus, give some percentage seem ok...
as dxo is permanent software while photoshop is subscription... so it might be good if some camera man really dont use photoshop XD(Do camera industry people dont use it?)
Bigger franchise got some effect of better / more cheaper addon.... that why lot of big name AAA company always win and monopoly (when their customer base and ecosystem is bigggggg)
Does, FP 7 work with DXO Photolab 7?
Yes, and ONLY photolab 7
I am familiar with the zone system from way back. Ansel Adams never claimed it was 'his', and for good reasons. All components and practices existed in advance. AA can be credited for calling exposure stops (EVs) for 'zones' and use Roman numerals, four zones on each side of 'zone V' (the 18 percent gray card from Kodak) - And that seems to be the way you make other people's intellectual property yours - find a fancy new name for it. At least others have done that in the name of AA after he passed away. It's a well known mo within a society who also wanted to credit A. Einstein for the relativity theory and turn him into a scientific icon. That backfired. He had the Nobel Prize for an inferior theory, otherwise it would have been too embarrassing for the Nobel committee. But the world doesn't hear much about these attempted thefts.