dtourolle
54772f94d6
Measured after building them, on four of the library's 6D DNGs: Adobe Standard's tables lower mean saturation by 3-9 % at defaults, and the look at 200 % lowers it further. The 6D's look table scales saturation by 0.925 in its darkest value rows; it was tuned to sit under Camera Raw's default RGB tone curve, which DarkRoom does not apply, and the dark-tone desaturation is what is left without it. On _MG_9080 the Lightroom preview measures 0.49, the matrix alone 0.38, the profile 0.35. So the spec's "that gap is most of why the same file looks flatter" was wrong: the gap is tone. The tables stay — they put each hue where Adobe put it — and the spec, D20 and the Vivid file now say so. "Stronger camera look" is removed: a stronger Adobe Standard look is a less saturated picture, the opposite of its name. The Vivid presets, measured at 0.40-0.46 on the same frame, are what answers "more colourful" today.
70 lines
2.4 KiB
Plaintext
70 lines
2.4 KiB
Plaintext
drpl 1
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# Vivid: more colour than the default rendering, for the photographer used
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# to Lightroom's richer starting point (camera-profiles.md §9).
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#
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# That difference is mostly Camera Raw's tone curve, not the camera
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# profile: Adobe Standard's look table, which D20 applies, desaturates dark
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# tones (camera-profiles.md §1). So these do the work themselves, and work
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# on every photograph — a JPEG, a body with no profile. They lean on
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# vibrance before saturation: vibrance lifts muted colours most and holds
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# skin back, so a frame gets richer before anything in it looks painted.
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# Saturation, which moves every colour alike, is used sparingly on top.
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#
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# Each changes only what it names (FR-DEV-6), so a corrected exposure or
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# white balance survives applying one.
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[preset Vivid]
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contrast.contrast = 10
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saturation.saturation = 8
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vibrance.vibrance = 30
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[preset Vivid, strong]
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blacks_whites.blacks = -10
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clarity.amount = 8
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contrast.contrast = 18
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saturation.saturation = 15
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vibrance.vibrance = 45
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# Foliage and sky: green and chartreuse for leaves and grass, azure and blue
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# for sky and water, a little yellow for dry grass and stone. The skin bands
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# — red and orange — are left where they are, so a figure in a landscape
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# keeps a human complexion.
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[preset Vivid landscape]
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clarity.amount = 10
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colour_mixer.azure_lum = -10
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colour_mixer.azure_sat = 20
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colour_mixer.blue_lum = -10
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colour_mixer.blue_sat = 15
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colour_mixer.chartreuse_sat = 15
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colour_mixer.green_sat = 20
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colour_mixer.yellow_sat = 10
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contrast.contrast = 12
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saturation.saturation = 5
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vibrance.vibrance = 25
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# Golden hour: oranges and yellows up and a warm cast laid over the
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# highlights only, so shadows stay clean rather than muddy.
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[preset Vivid warm]
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colour_grading.highlight_hue = 45
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colour_grading.highlight_strength = 12
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colour_mixer.orange_sat = 15
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colour_mixer.red_sat = 8
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colour_mixer.yellow_sat = 15
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contrast.contrast = 8
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vibrance.vibrance = 25
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# People: everything around the subject gets richer while skin does not.
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# Vibrance already protects skin; the orange and red bands are then held a
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# little below where they started, because a face is the one colour every
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# viewer knows the right value of.
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[preset Vivid portrait]
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colour_mixer.azure_sat = 10
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colour_mixer.blue_sat = 12
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colour_mixer.green_sat = 12
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colour_mixer.orange_sat = -10
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colour_mixer.red_sat = -5
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contrast.contrast = 6
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saturation.saturation = -5
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vibrance.vibrance = 25
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