Yes, that will be so. I am currently a bit busy, but as far as I get more free time, I will do it. 
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Thank you a lot in advance.
Best regards,
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Thank you for your videos. To me, they are very informative. I am still trying to get my head around the new scene referred workflow. I was wondering if you would be willing to share some Images you used in your videos? I would like to try your methods on your images and see what results i can achieve.
Edit:
With sharing your Images i meant if you are willing to share your RAW Files? Maybe even with the sidecar files
Thank you Boris. Great examples.
I have a question regarding contrast. Why do you use Tone Equaliser to increase contrast instead of doing it in Filmic?
filmic is primarily tonemapping. Why using a tool for something it isn’t designed for?
In tone equalizer you have full control over the contrast global as well as local
I think aurelien addressed in the past. Filmic is for technical contrast, you do the tone mapping and maybe some contrast is lost in the midtones while doing so, hence why the contrast slider exists in filmic. It is not meant for creative adjustments of contrast. You get it to a good starting point and then use expose or tone equaliser for artistic adjustments.
Here is the explanation: Which module for contrast to use? Filmic or color balance rgb? - #10 by aurelienpierre
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I know its only supposed to be for local contrast but I find I like the look of the contrast applied by color balance rgb…esp after setting the autopickers for fulcrum and grey level or by playing in the masking tab…
Would you mind explaining in detail how you use colorbalance RGB for contrast? Maybe even with some screenshots.
Moinchen, Joachim!
If you use the search facility in this forum, you
will find much info, for example this:
MfG
Claes in Lund, Schweden
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No time now but basically out of the gate go to the masks tab and click on both autopickers…this will set some tonal boundries which guides the contrast…then dial in contrast from the main tab. It has a nice effect… That’s really it. You can just dial in some contrast and then do the autopickers if you would like to assess the impact…finally I sometimes go to the mask tab and slide the middle gray point back and forth to expand or contract what is considered highlights or shadows as needed and in rarer cases I play with the fall off…AP says not to use it the way that I do (globally) but I like the look when I use it… you can get a pretty good explanations here… try from about 42 min mark… [EN] Secrets of the color balance RGB in darktable 3.6 - YouTube and around 47 min he explains a better application of the contrast …ie in a local area and in a way that won’t affect your white point… in any case like all things DT there are sound technical groundings for the how and why but you should experiment and use the tools in a way the works for you and gives you the look you desire…at least IMO
Among all your excellent episodes, I find 46 & 47 super interesting and relevant for me - thank you!
I switch back and forth between display- and scene-referred workflow. As for landscapes or other pictures without people I have no problems with new workflow, however, people’s faces look dull and “too-magenta” quite often (to my eye).
And the point is, I have such a strange hobby of creating something like “One preset to rule them all”
I believe after yesterday watching your videos I’m a bit closer to heaven. So far my auto-applied presets look like that:
That set is some kind of substitute for long been used:
In Tone Equalizer I like to play it safe, and the extreme points of the “curve” (let me call it like that) are not touched, so I’m sure not to introduce clipping 
So far the only thing I need to manipulate is Exposure and Mask exposure compensation in Tone EQ.
I will be testing those settings long-term.
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See Aureliens new video today…I think the D65 WB settings are off for a lot of cameras leading to often redder or magenta casts…His use of a photo of a calibrated monitor to derive new WB coefficients might help with some of the noted color issues for some users with certain cameras using the modern workflow…
Couple of observations…
Normally you would not use filmic and the basecurve in the same work flow and your reconstruct settings in filmic might not do anything …the threshold will be image specific…its set at 3 by default to do nothing as this takes CPU…you must lower it each time to include what you want in the reconstruction mask…so 0 might or might not include some highlights…
I do not 
The screenshot of base curve is for illustration and comparison purposes - those are the settings used, when I switch to display-reffered.
When I work in the modern approach, I use the combo of Filmic RGB + Color Balance RGB + Tone EQ.
I know about 3 Ev in Filmic’s reconstruction, I like zero as a starting point (for the time being, at least 
). Also I have Highlight reconstruction module switched off when in scene-referred to let the Filmic have more data to work on - I’ve leaned few things from the discussion in my previous topic.
And I saw that new video about calibration and taking D65 photo of my screen. I took it (EIZO monitor) and did quick test.
It looks promising, but it was late and I was tired, so precise experimentation is postponed 
That is interesting. I had impression that Filmic is only complementing the Highlight reconstruction module in this aspect.
Which video was that?
I am trying to use the Paletton designer in edits. I wonder if this image is one that it could, or should, be used on:
@s7habo those are great videos, and thanks so much for sharing! 
I was wondering if you would mind sharing a few words about your workflow in respect to your darktable version.
It seems that you are mostly using darktable master instead of the latest release, is that only for the videos? Or do you do all your edits with the latest development version?