I understand that PL’s working space is Adobe RGB so if it encounters colours outside the Adobe RGB gamut it must apply a rendering intent to bring those out-of-gamut colours within the Adobe RGB gamut.
My question is, what rendering intent does PL use in this situation? Relative or Perceptual?
That was 2019, it’s now 2022, hence I say again, I can’t / don’t see DxO caring. Would @CaptainPO care to correct my cynicism?
( Marc (macOS Monterey on MBP16" Intel))
I would say DxO cares but we are (most of the time) impatient and we do not know what DxO has in its hat because they have to protect their work from the competitors.
Of course a more open roadmap would be welcome.
But imagine if they announce a thing and miss the announced release date… all the comments… No thanks, there are already too many negativity for things that are not announced. I would do exactly the way they do: work in silence, slowly but surely, to deliver a better software day after day.
Now, hopefully your wishes are high in DxO’s long todo list
The Question is short but the technical challenges and hurdles to be overcome to deliver are great.
You talk about a change in the core of the raw to pixel(RGB) programming/algorithm.
it’s like hé we need teo extra digit’s , milenium, it’s only a change between 99 and 1999 sounds easy but it was a dreadfull job for all software engineers.
I think dxo software development need to build a hole new “spine” in the raw to RGB conversion and preview engine and reconnect all other tools, bells and whistles around it.
Not an easy task and if they do the raw to RGB demosiacing Less Good then the old version in conversion quality the world is too small. Keep in mind it’s not Adobe in resources.
I am not an software developer but i am imaging that on this large changes lots of time is “wasted” on technicalmeatings in order to map out the playfield and set the markers of specs. Before you start spending money and time in coding you have to be damn sure your efforts arn’t run over by progress of time. (like building your new house for two parents and 1 kid and somewhere in the build the second is popping out…sort off)
Hey, everyone else can do wider and selectable colour spaces and DxO should be able to do it too. DPL is the only serious photo app (I use) without it. This needs to change and I guess that it will. I’d not hold my breath though.
However, one can also expect a company that offers award-winning software to
observe the market and pick up on trends
proactively drives the implementation of important ones
takes customers’ ideas and suggestions seriously
Many points such as softproof, user interface, alignment of software add-ons (Nik), differences in Windows and Mac versions, DAM have been criticised for a long time, but have been forgotten somewhere or not actively managed.
This also leads to posts being “dug up” again and again over the years, but sometimes not commented on by DXO.
And not only the DXO forum administrators, who do a good job, should post here, but also the marketing team or the development management. With all the forum members who invest a lot of time and sweat here, at least that would be a nice gesture.
I only wrote that even if they will answer the feature request it still is a timeconsuming task.
That they need to get it more yesterday then tomorrow we agree on. Aldoh i am in my workflow happy enough with AdobeRGB.
Other customers need it and if they want to compete with the others dxo needs to adres to that. Point.
I’m curious to view the print, that shows any advantage when using a larger colour space than AdobeRGB. Or the monitor that shows a relevant difference.
Or the monitor that shows the relevance of 30bits colour.
I still prefer wet chemical prints (of course generated by laser lighting nowadays) over many inkjet prints. Although their colour space is sRGB at best.
I don’t have the skills to produce such a print but I am convinced that there are people who can do so. Having the raw data mapped to the largest possible colour space (e.g. ProPhoto) as part of the initial RAW processing and then the ability to control how the resultant colours in that space are remapped to the smaller spaces of your monitor and the paper you are printing on means you have greater control of the end result, giving a subtlety to the output that otherwise would be missing. A bit like listening to a CD through a carefully set up high end hifi system vs hearing it on a perfectly adequate but less finely tuned system.
I’m not sure.
The bigger the difference in color space the bigger the differences in the end,smaller,color space.
The bigger the working color space, the bigger are the correcting steps with equal bit depth.