![]() This means exposing the shot so that the exposure is as bright as possible without clipping the highlights. In order to get the best from this module, your images need some preparation: capturing (ETTR) In-camera, it is recommended that you use a technique known as “Expose To The Right” (ETTR). Do not overthink the numbers that are presented in the GUI to quantify the strength of the effects. Note: Despite the technical look of this module, the best way to set it up is to assess the quality of the visual result. While the underlying principles have not changed much, the default settings and their assumptions have, so users of the previous version should not expect a 1:1 translation of their workflow to the new version. The following video (by the developer of this module) provides a useful introduction: filmic rgb: remap any dynamic range in darktable 3.įilmic rgb is the successor to the filmic module from darktable 2.6. While it is primarily intended to recover high-dynamic-range images from raw sensor data it can be used with any image in place of the base curve module. The module is derived from another module of the same name in Blender 3D modeller by T. Highlights will need extra care when details need to be preserved (e.g. It protects colors and contrast in the mid-tones, recovers the shadows, and compresses bright highlights and dark shadows. This module can be used either to expand or to contract the dynamic range of the scene to fit the dynamic range of the display. After that the colors of the negative look accurate, it's just after converting that it looks off.Remap the tonal range of an image by reproducing the tone and color response of classic film. I'm also using a lighttable for drawing and set the white balance of the camera to 5000K, but I'm adjusting it in darktable. It would be really cool to see how you approach it. xmps) here: Dropbox - negative raw - Simplify your life xmp would allow me to share what I've been using. If you don't mind sharing a raw file, I can give it a shot though of course I may do even worse, and it may take until the weekend but if it's successful, I think sending back the. What kind of light do you use for scanning? I have a lightpad normally marketed for drawing (5600K) and keep the camera in auto white balance. I see in the image info that it says white balance is manual, is that on the k3? I'm just wondering if the white balance from darktable is somehow interfering with what invert is supposed to do. ![]() well, great job correcting it manually then, especially on the first image, I never could do better than that Has anyone of you found a way to create presets that actually get the color right? I'd be happy to hear your workflow and your ways of tinkering! I attached two I my first attempts shot with Fuji Supercolor 200. White balance is another story, getting the color of the film right (one of the reasons why I shoot film in the first place) is super hard. Inverting the base curve works, but adjusting the levels the same way as with b/w leaves me with a desaturated picture. ![]() While this works quite nice for b/w, colorfilm somehow doesn't work this way. After that I adjust the levels to get the picture to look less flat. Even with black and white film I get strange results, so I figured it's easier to just invert the base curve. The first probelm I encountered was that the invert module in darktable doesn't really cut it. Since I'm using darktable anyways I thought I don't need that, I can just put some effort in creating some presets once for different films and use those afterwards. What I didn't realize was that most of them are using a lightroom plugin (NegativeLab Pro), which costs 100$. tiff scans are expensive), so I decided to scan the negatives with my K-3 myself - the youtube tutorials suggested that it's a fairly simple process. I wasn't completly satisfied with the results of the scans my local lab provided (and high res. ![]()
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