![]() Not a complete answer, but I hope it helps your consideration. Mine are all sRGB-ish, which I think is a good thing to regard if exporting for general use. I don't think there are displays on the market doing much better than AdobeRGB, but I'm open to new information. For one thing, ProPhoto includes what they call "imaginary colors", colors not see-able in the visible range. I didn't read enough to determine what colorspace is used by their direct interface.įinally, I know of no display medium that comes close to supporting close to ProPhoto gamut. Thing is, if PL5 is using an internal working profile AND it's gamut is smaller than ProPhoto, you'll not be getting full ProPhoto gamut in the TIFF. You'd have to supply one you'd procured separately, but they're not hard to find. To your concern about going from LR to PL5 and back, if you do it as an exported 16-bit TIFF, PL5 lets you specify an export profile, which can well be ProPhoto. ![]() If anyone knows better about DxO internal working profiles, feel free to expose my ignorance. I do this in my processing (not software you'd be familiar with), works just fine if the camera profile has a well-defined white and black, but this bucks the common wisdom. Now, PL5 may indeed do all the editing in the original camera space, and defer any conversion until display (through the display profile) or export (through the export profile). The camera profile provides the starting point for this conversion, and the destination is usually something like linear ProPhoto. A working profile is a large-gamut colorspace, usually linear tone, that the camera data is converted to internally by the raw processor to provide more "well-behaved" data for the editing. I always opt for DeepPRIME because I want the best possible performance, but you can choose either of the less sophisticated HQ and PRIME settings, if you want.Firstoff, all I know about DxO PL5 is from the 10 minutes I just spent with the downloaded user guide.Īfter this very studious ten-minute review, I can find no evidence of the use of a "working profile" in DxO PL5. ![]() From there, you can choose to process using the last used settings or select the setting you want. The second way is by right-clicking a file in the macOS Finder or the Windows File Explorer. It's super simple and gives you the same controls as the standalone app. Within Adobe Lightroom, users can now right-click on an image to process it using PureRAW 2 and import the new DNG file right back into the same folder. Perhaps even more important are the two new ways you can use DxO PureRAW 2. DxO states that DeepPRIME is up to four times faster than the previous iteration. On a MacBook Pro with an M1-series chip, PureRAW 2 is fast. Speed and performance are improved, which is great. I get to enjoy the benefits of DxO DeepPRIME and the company's amazing optical corrections while still using my photo editor of choice.ĭxO PureRAW 2 improves upon its predecessor in several key ways. DxO PureRAW is the perfect solution for me. However, like others, I have a workflow that I'm comfortable with that relies upon competing software. Images are clean, sharp and the optical corrections are second to none. It also features a dynamic workspace that you can. Like many photographers, I've long found that DxO's software offers fantastic RAW processing performance. DxO PhotoLab 4 is an artificial intelligence technology that can simultaneously denoise and demosaic images. While I encourage you to try the software for yourself, in my experience, DeepPRIME delivers upon its promise. That's a big deal, because noise reduction is often overly aggressive to night skies. Impressively, the noise reduction doesn't remove the small, faint stars from the image. The image is shown at 100% view.Īs you can see, the PureRAW 2 image is much cleaner. On the left is the image processed with DxO PureRAW 2 (DeepPRIME) and the right image is the same photo with Adobe Lightroom default processing. This image was shot at ISO 8000 on a Sony A7R IV.
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