Editing moments with darktable

Thatā€™s actually not wrong. For example, you want to remove the green cast from the womanā€™s face and clothes. Logically, you would like to use the green channel to reduce the green values.

The nice thing about the channel mixer is that you can not only influence the values of the single color channels themselves, but you can also use the different ratios of all three channels to influence the values of the single color channel.

So, in the second step, you then consider which color channel dominates in the face and clothes. This is the red channel.

And precisely because the red channel dominates there, the reduction will also be strongest there if you use for reduction the color ratio of the red channel instead of the color ratio of the green itself:

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Hi, thanks =) Iā€™ve watched your very informative video on youtube about the channel mixer.
I think I understand how it works, but when I want to apply it on a photo, my brain seems to melt :slight_smile:

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Yes I agree. But it is not that easy.

Thatā€™s why my weekend belonged to the channel mixer.
I think I found a way to deal with it.
I recorded my experiences in a report on my website.

A recipe for the channel mixer

Iā€™m sorry, unfortunately only in German. But I think Google Chrome does a good job here, so you can read it in English too.

I hope it helps some others understand the channel mixer better too.

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Nice guide I think this will help some users for sureā€¦

I also have this little document which is a nice little cheat sheet as wellā€¦

The Channel Mixer.pdf (68.9 KB)

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I referred to these because you mentioned you were after ā€œa look & feel more or less resembling analogā€, but I see what youā€™re saying. I dontā€™t see the LUT as a replacement for other color corrections, but rather a way to create a shared boundary for a series of images to contribute to visual consistency.

How do you use it? With the spot color mapping?

Nothing too sophisticated, but gets the job done for me in an elegant way (as I see it :wink: )

First instance - for white balancing. But to be honest, most of the time it is set to As shot in camera, and in camera Iā€™ve got white balance fixed to Fine / Daylight.

Second instance as shown in the screenshots below:


channelmixerrgb_Klisza filmowa CC.dtpreset (1.0 KB)

Itā€™s worth noting that this preset is primarily designed to work with base curve at the end of the pipeline, without hue preservation:

krzywa

basecurve_Moja najlepsza krzywa.dtpreset (1.1 KB)

so these two modules complement each other in colour shifting.

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Thanks for describing your process @Leniwiec.

May I ask, @s7habo, if you (or anybody else) can think of a clever way to recreate the functionality of the color look up table module (works in LAB) using the ā€œspot color mappingā€ or ā€œcalibrate with a color checkerā€ feature of the color calibration module?

Iā€™d like to map multiple colors to other colors in order to roughly recreate my favorite LUTs without using the LUT 3D module.

This is something very technical and I am the wrong address for it.

For my needs I use multiple instances of the color balance module by masking the corresponding color with hue parametric mask and then shifting the values with hue shift slider.

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Thanks for replying. Something tells me all hope is lost. :smile: Perhaps Iā€™ll create a separate thread for it.

I think for now CLUT might be enough until you have a more elegant solutionā€¦ maybe just drag it into display space after filmic or sigmoid and see what you can achieve ??

Thanks. Yeah, thatā€™s what I use now (after sigmoid). Iā€™d be happy not to forever rely on an external cube file to have the file render like it should, though.

Many ICC files are basically a lut or at least part lut and they are in common use so for some they are relying on one all the time to get at least the starting look :slight_smile: Also one of the ā€œnewā€ features I think in the new Lumix S5II is a series of in camera luts that can be applied. If you have a lut that works and gives you what you need I donā€™t think its such a bad thing??

Adobeā€™s dcp files have a look table again imparting a color adjustment out of the gate so if your lut gets you what you need I think its an efficient way to edit ā€¦

New Episode: Difficult lighting conditions

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Great video on that topic. As I expected from you - many useful hints for such lighting situations. Thank you very much, Boris! Itā€™s always a pleasure to learn from you :heart_eyes:

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I really like it that you related it to the manual for the gamut compression!

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New Episode: Advanced masking part 1: parametric masks

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G.R.E.A.T video.

But I have a shy/timid request/ask/supplication/petition (I donā€™t know which word is better for this situation).
IMHO in situation like this ā†’ go straight to the point of the matter.
Without any basic/starting adjustments (which should be allready applyied).
You should assume, spectators have some basic knowledge.

From this video I found out about the letter C and that the individual channel tabs connect.
And this is great.

Greatings.
Darek

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It gets even more complex when you invert some of the channels and also use inclusive vs exclusiveā€¦eventually you can follow all these combinations to achieve the desired result but it can take a moment to get it strait in your headā€¦

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IMHO in situation like this ā†’ go straight to the point of the matter.

I should express my disagreement here. Seeing the entire process seems to me quite crucial, for example for orientation and to see the process of decision-making. Iā€™m also sure that otherwise many questions would follow in the style of: how did we get such and such an effectā€¦

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+1

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