I have no problem when you (all) pour in your ideas provided that DxO picks up all ideas that are added over time.
An other caveat might be that votes might be unclear or lost unless the votes be applied to all requests that add up over time.
I’m fairly confident that layer functionality will increase. 
Hi everyone !
Just to clarifiy some topics that has been mentionned in this thread :
Layer renaming => it’s coming
Duplicate layer => same… it will come with the renaming feature if everything goes smooth.
Invert mask status => here, there’s a misunderstanding of the feature itself.
At the moment, the inversion of the selected mask is an action, not a state, as you would do an “invert” command in Photoshop. The only part that doesn’t work properly at the moment, and could(would?) need this inversion status is with Control points.
With this specific tool we came to a dead-end related to its intrinsic behaviour : a control point defines an area, inverting it means it would shift to a Neutral point, and have all the rest of the image affected… which is something that doesn’t translate into a counterpart control point dealing with the global image…
Hope it helps 
Best regards,
The DxO Team
…this is basically what we’d like: A mask applied to the complete picture excluding the area that is defined by the “inverted” mask. It could work like this: Add a mask A, duplicate the new mask and invert it to get Mask B. Te intention is to be able to apply a different set of settings to the area of masks A and B so that the two masks cross over like this: A_X_B (the X means that the feathers of both masks shift from A to B in a way to leave no overlap or gap.
Can you elaborate on what you mean by “invert…in Photoshop”? In PS, I can invert colours and masks, the latter being close to what I mean here…
I think your “Mask A” & “Mask B” example is what we will be able to do with being able to duplicate a mask.
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I know that You do not like to make promises on planned new features… but as a general estimate will this mask upgrade occur before v4? Merci!
Control points inverting means effect everything but the color characteristics/content of the “pupil”. So it becomes a negative or neutral.
That can be interesting if you like to neutralize one specific color and adjust all other things around that equaly by algorithm of a controlpoint. But i think controlpooints are about adjusting a certain color acros the image which effectingarea is defined by the outer circle.
Is it possible to make a " neutralizing mask" which we can use to block a edged area from effects of the controlpoints? Not a counter upoint like a negative controlpoint which use the same selecting critertia as a controlpoint but a real “fence” to stop any local correction.
Then you can use it as a erasor like in the blue mask types. Select a sharp edged area which is outselected from adjusting settings of the controlpoints.
It’s just a thought, no clue if its possible to realize. 
I’m surprised or I don’t undersatnd your idea.
What more than Protection Point in your proposition ?
Pascal
As a general principle I see a confusion in this feature.
In my usage, I prefer to use (more performant) global corrections for the subjet and keep LA for other thing.
Pascal
Say you build controlpoints around a multicolored object and use controlpoints to change suroundings colors. This also effects the object. And you need to use negatives to avoid that.
For every selected colorgroup(pupil) of an controlpoint, that gonabe crowed with circles.
So when i have a neutralize mask i can paint that object and say non of the controlpoints influence this area. Job done. I only have active controlpoints around my object to edit the image and my neutralized area keeps " uneffected".
It’s just a mind buble, popping up, so maybe it’s useless or pointless and is already covered by other tools.
Peter
That is I understand when I read, that for some, Control Point are panacea 
Are you sure Control points are the good tool to do this job ?
There are three other masks for LA.
Pascal
What means panacea?
And controlpoints are complicated so yes i can’t say it’s a propesition which will hold against judgement but a general inverted controlpoint is not a negative, more a effect every color except the one selected inside the pupil. Atleast i think that’s the way it behaves.
I think we need to get more knowledge about what we have first before we push forward.
As i said before, it’s not well thought and tested proposal only something i came up with as a extra control.
Edit, the other local adjustment mask are edged painted so more easy to invert. Ok one other isn’t the partial thingy (name?)
Having a mask which works as a erasor/ neutralised area can be helpfull. That’s all.
A panacea refers to a general solution to a range of. problems. In the original Greek, I believe it refered to a a cure or remedy for a number of diseases. Example: The UK leaving the European Union will not be a panacea for all the internal problems they have blamed on being a member of it. .
Mark
It seems that many people use control points for almost all of their local adjustments. I’m not sure why. While it has its place, for me, control points are my least used mask.
Mark
Idem.
My preference is for the auto mask.
Pascal
So is mine.
Mark
Ah thanks,
i think in local adjustments controlpoints are a bull/ram in a hurt of cows/sheeps. It just works different and as the erasor can be used for un-mask area’s you don’t like to have touched by the layed out mask even with Gradual filter this isn’t possible with controlpoints.
And negatives arn’t detailed enough to isolate a object/area in your image which you don’t like to be touched. So because of this behaviour using the controlpoints can be a struggle and masking with paint is easier to control certainly now you have some feathering and opacity to blend the masks more with the rest.
I like controlpoints because you can change the look with a few clicks on the image if you wel place the eye’s.
That’s why i like to have a “neutralizer paintbrush” which is in fact the erasor for the others
The problem is that the software Upoint is that much different that i think it 's imposible to make this happen. So maybe a adjustable feathering is possible by adjustable iris around the pupil. so you can change the multicolor touch. (you can do this a bit by zooming in as far as you need to isolate your color you want to effect from the colors you don’t but then the feathering gets harser too. see mask “m”.
easier target is the Auto brush inner and outer circle. (a cleanup command to see which edges the autobrush is catching.) so when you invert you don’t have to repaint as much.
What do you say Peter ?
Is this a dutch expression ? 
Pascal
sort off(around here it’s a expression). i ment it’s total different from the rest and it brings something extra to complete the group (of tools).
Peter
I am not sure I understand what you are saying with regard to inverting a control point mask.
After you have added control points and negative control points to a layer you generate a grey scale mask of the combined effects of the control points.
Surely to generate the inverse mask you just transform the grey scale mask? I don’t think users are expecting to generate an inverted mask and retain control points in the inverted mask. They just want to have the parts of the image that weren’t selected in the control point mask to be selected in the inverted mask. I would expect that to be on a new layer for ease of programming and user convenience.
Ian
The advantage of CP is that you are not painting a mask, the mask is generated automatically. the amount of feathering is much greater than using a brush and this helps produce changes that are quite organic as it is very hard to detect any edge to the mask compared to a brushed mask.
If you have a sky you wish to darken that has projections like trees etc in the sky line using CP’s allows you to quickly select the sky as it is working like a luminosity mask so the dark trees etc are not selected and or can be deselected with negative CP’s. Painting a gradient and then erasing is more work. Also if there is colour in the sky that is also easy to select with CP’s and enhance.
CP technology is a very positive advantage for DXO-PL3 and it is my preferred tool. Enhancement of the CP technology for example would enable true luma masking to be introduced relatively easily as it is working like that already. Same for colour range masking, making DXO-PL even more competitive with LR.
Ian
Hy Ian,
I agree with you that CP’s are a wonderfull toolset.
i know that CP arn’t remotely the same as a conventional mask. Ive played with them a lot to see how they work. i don’t know luminositymasking in other applications but i understand remotely how this work. it uses the luminosity levels to select a grey %. like the selective tone sliders.
Controlpoint is much more local:
-the pupil is collecting the pixelcolor to select the pixels with the same color around inside the circle of influence.
What would be interesting is to have a slider inside the CP-menu which works like the HSL’s color selection criteria of uniformity. (so you can manual influence the pupils colorgroup selection thus the feathering.(intensity of the mask)
Now you need to zoom in or out and place the CP exact on the color/hue you want to control the color/hue widhtness pickup in the pupil. (zoom out and you pickup bigger area in the pupil and zoom in to narrow the selection down.)
“neutralizer paintbrush”: i think this is very difficult to implement in CP controls Thus a negative and or contra adjusted new CP’s do the trick now. I need to play more with the new Opacity slider in the “local Adjustments tool.” I think this can help out in the “feathering/blending in”
Yes sky “blue” is a very difficult “color hue” range of blueisch/greyisch pixelgroups. Sometimes it’s needed to add more CP’s next to each other to get all variations of the skycolor in one menu control or just place two independant CP-groups in the sky to have two channels to control the sky appearance.
The HSL tool has a great color/hue selecting mechanism with feathering and uniformity. But it’s global so if this color/hue you want to change is also somewhere else in your image present then you effect this area with your adjustments and not only the sky.
So a lot of things are already in here but finding the right path and combined use is the trick!
If the HSL-tool technology can be fit inside the Local Adjustment masking technology you get a very powerfull tool to adjust any color/hue on any scale.
biggest problem is if you expanding a toolset, is knowing what to use when in combination with what. So i think i need to play a lot more in PLV3 to filter out what’s not possible and what’s possible if you know what to do. From there i can pinpoint the needed addings/improvements.
(the multibrush/erasor is such a thing which can be very useful for blending in adjustments.)
Sorry for the long reply i get enthusiast when i read about this matter.
edit: owh and it has something to do with inverting mask. That small button “Invert” bring up a big load of extra in use and possible problems to pop up. smart brush has this “problem popup” which is addressed and worked on as we speak and when we get the "copy and invert"option then it’s even more a big step forward.
See this video quick thing about two CP’s next to each other and one inverted so they cover the hole image together. I messed up the colors to show and i think CP’s and inverting can be used as “negatives with control.” wile a normal negative just blocks a CP influence. by carefully placing a mask by a inverted CP to counter effect the other you can blend the effects nicely together by using the opacity slider after finetuning both CP’s in the menu.