Call the reference curve what it is, and drop wording that reads as copying

The view transform's second curve is the DNG SDK's published reference
rendering — the ACR3 default curve applied by RefBaselineRGBTone — so
it is the "DNG Reference" curve in the panel, D21 and the code, not a
name borrowed from another product. Comments and docs that justified a
choice by another editor doing it ("as their Amount", "so a
photographer arriving from it finds the name") now give the actual
reason. The Vivid presets no longer describe themselves as reaching
for another editor's look; they are DarkRoom's own.

Factual mentions stay: which program wrote the library's DNGs, what
was measured against, and preset import. camera-profiles.md gains §15,
on starting a photograph from the edit it already carries.

core/dr-pipeline/src/camera_raw.rs

@@ -1,16 +1,16 @@
 //! TRACES: FR-DEV-3j | FR-DEV-3e
-//! Camera Raw's tone, as a rendering the view transform can choose (D21).
+//! The DNG SDK's reference tone, as a rendering the view transform can
+//! choose (D21).
 //!
-//! Lightroom's colour is mostly its tone curve (camera-profiles.md §1): the
+//! The DNG specification's reference rendering runs a raw through the
 //! profile's `ProfileToneCurve`, or the ACR3 default for a profile with none.
-//! Half of what the curve does is *how* it is applied. Camera Raw's
+//! Half of what the curve does is *how* it is applied. The SDK's
 //! `RefBaselineRGBTone` runs it on the largest and the smallest channel, and
 //! places the middle channel at the fraction between them it had before. Hue
 //! is kept; saturation rises wherever the curve is steeper than the
-//! diagonal, which for the ACR3 curve is the shadows and the midtones —
-//! where Adobe Standard's look table desaturated to compensate.
+//! diagonal, which for the ACR3 curve is the shadows and the midtones.
 //!
-//! It runs in linear ProPhoto, as Camera Raw does, on values clipped to
+//! It runs in linear ProPhoto, as the SDK does, on values clipped to
 //! `[0, 1]`; its output is linear and goes to the output transform as the
 //! sigmoid's does. The curve is read from the profile buffer
 //! (`ops::camera_profile::profile_buffer`), which always carries one.
@@ -22,14 +22,14 @@ use crate::ops::camera_profile::{mul, working_prophoto};
 use crate::view::{DEFAULT_CONTRAST, DEFAULT_WHITE, SCENE_GREY};
 
 /// The input scale for a white point: 1 at the default, so sensor white is
-/// display white as in Camera Raw; each stop of `white` above it halves the
+/// display white as in the SDK's reference; each stop of `white` above it halves the
 /// input.
 pub fn input_scale(white: f32) -> f32 {
     (DEFAULT_WHITE - white).exp2()
 }
 
 /// The power the input is bent by about middle grey: 1 at the default
-/// contrast, so the curve is Camera Raw's untouched.
+/// contrast, so the curve is the reference's untouched.
 pub fn contrast_power(contrast: f32) -> f32 {
     contrast / DEFAULT_CONTRAST
 }
@@ -50,7 +50,7 @@ fn rgb_tone(curve: &[f32], p: [f32; 3]) -> [f32; 3] {
 }
 
 /// TRACES: FR-DEV-3j
-/// The view transform's Camera Raw rendering of one working-space colour.
+/// The view transform's DNG reference rendering of one working-space colour.
 pub fn apply_reference(curve: &[f32], c: [f32; 3], contrast: f32, white: f32) -> [f32; 3] {
     let (to, back) = working_prophoto();
     let scale = input_scale(white);
@@ -73,7 +73,7 @@ fn camera_raw_curve(x: f32) -> f32 {
     return mix(profile_table[base + i].x, profile_table[base + i + 1u].x, s - f32(i));
 }
 
-// Camera Raw's RGBTone: the curve on the largest and smallest channel, the
+// The SDK's RGBTone: the curve on the largest and smallest channel, the
 // middle one kept at its fraction between them, so hue survives.
 fn camera_raw_tone(c: vec3<f32>, scale: f32, power: f32, grey: f32) -> vec3<f32> {
     var p = PROFILE_FROM_WORKING * c * scale;