My wife is the same way with me any time I shoot. Thats why I save raw in one card and jpeg in another. She can have the jpegs immediately. And I personally think my camera jpegs are pretty decent. The photos I edit are the cream of the crop anyway.
1 Like
Same here. 
Thank you for your sharing your expert knowledge so generously, the video was very useful (as were the previous ones).
One quick question: I remember Aurelien advising against a heavy use of the Perceptual Brilliance Grading section of the Color Balance RGB module in one of his video, because the underlying algorithm was not very robust. Indeed, I noticed that if you push the highlights slider a bit too much to the right when there are strong highlights in the image, large white blobs make a sudden appearance. Did you notice this and have any thoughts about it?
Itâs tied to all the gamut mapping I believe so when you push to the upper border you get white or there was an attempted fix but that went to black I thinkâŠI think itâs known but not fixed yet
Yes, this is a known issue. I have written a bug report about it:
The temporary solution to this is to turn off filmic highlight reconstruction (quoted from flannelheadâs post):
â[âŠ] Turn the threshold all the way up to 6 EV and transition slider all the way down to 0.25. At least with those settings I could no longer reproduce this sort of artefacts. [âŠ]â
Great, the workaround does work. Thank you so much for your swift reply!
Thank you for this very informative video, I learned a lot
1 Like
New episode: Hue shift in highlights
33 Likes
Great video Boris. This will be very useful esp for many new users of DT. I have one question. I notice that you donât set the mask in rgb CB module, even just with the autopickers⊠would this not give you slightly better results for selected tonal adjustment⊠So setting the white and grey contrast fulcums using the autopickers??
1 Like
Absolutely!
In this example I did not use it because I had good result immediately without these settings.
Where this can play a big role is for example when editing photos with sunset. With fulcrum and masks you can adjust the color transitions much better.
Maybe I should choose such an example at the beginning of the next episode and demonstrate it.
6 Likes
Excellent tutorial as always!!!
2 Likes
Ya out of habit I set them (white fulcrum and contrast gray) every time assuming it will give the best mask for shadows mids and highlights for a particular image and therefore make the adjustments selected more targeted. Its also quite amazing some times just tweaking mask middle gray fulcrum to the left or right⊠I admit I donât often play with the fall off sliders⊠Just the 3 mentioned⊠Your videos are always so very impactful it might be nice to see you explore this aspect and demonstrate how you would leverage that mask to enhance the adjustmentsâŠ
2 Likes
Thanks a lot @s7habo. Your demonstration of hue shift in darktable and gimp (2:07 ff) and the following demonstration of hue preservation is excellent!
This video is a must watch not only for portrait photographers.
2 Likes
Really nice, It took me some time to get what you explain here, hue shift really is a big one on the annoyance to get rid of.
I also really liked the other video you pointed to and how he highlight the fact that desaturation on highlight convey additional sensation of brightness when the coloured zone/object is already at max luminance.
thanks again !
1 Like
As always very nice video, thanks!
2 Likes
Excellent tutorial thank you
2 Likes
New episode: Use of masking options in the color balance rgb module
Raw file in the video was used from:
by Brian Poindexter (c)
Licensed under a (CC-BY-SA)
I didnât try the processing additionally also with sigmoid, because I focused first on color balance module. I will do that in the next episode, since I wanted to introduce sigmoid briefly anyway.
21 Likes
A very nice video tutorial 
. I will forever be âfood-processingâ these flower images I take. Every year I do this I get new challenges.
One comment I would share is that one way to kind of bump up the overall brilliance, without losing too much petal surface texture detail, is to use the âhome grown local contractâ trick where one can use some kind of blur effect in subtract mode. Starting with an image that is a bit âbrightâ, it will darken the image (or the affected masked areas if masks are used) as well increase surface details, after which you can use an instance of exposure with a raster mask to bring it back up to what suits the look. I used that technique with my own edit of this image and it worked really well.
Using sigmoid on this image, as another experiment, I was able to get close to my âbestâ edit (using a doctored version of filmic v6). I still like my original best, but the Sigmoid version I ended up with was almost as good.
3 Likes
Thank you Boris.
You make it easy!
2 Likes
Nice use case of the mask tab of RGB color balance, I never ventured there (is 2 tabs the max for me ?) so never really understood it but now I know whatâs itâs used for 
1 Like