New episode: New workflow with enhanced sigmoid and new primaries module:
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Good intro to upgraded sigmoid and rgb primaries. I was familiar with the Abney effect.
What was the other visual effect you mentioned related to the brightness/color of the sunset on the windmill photo?
Thx
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Excellent, of course. Looking forward to the next one on using the modules for grading. It looks like Sigmoid is now your default tone mapper? Do the new sigmoid features make filmic less relevant for you now Boris? Thanks for the excellent demos.
At the moment yes, Iâm still testing and trying it out. Whether it stays that way remains to be seen.
I canât say yet. In any case, I find Sigmoid much better in terms of color management. However, Filmic handles photos with a large dynamic range much better. I think both modules will still be relevant for me.
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Thanks. That makes sense to me
Thank you Boris for another great video.
Will you stop using Color Balance with Sigmoid? Previously you have used it to improve saturation and contrast. Maybe, now you can achieve the same with Sigmoid only?
Sigmoid affects the saturation other than filmic. Just increasing the contrast also increases saturation. In addition, the saturation is also influenced by the primary sliders in Sigmoid.
Nevertheless, I still use colour balance but not to the same extent as with filmic.
As for the upper video, those were also difficult scenes because of the problems with over saturation, which are best handled with Sigmoid. So in this case there was no need to use colour balance for further corrections.
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New episode: Texture softening for a softer look:
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With this new episode I went back to a red tree picture I proposed in play raw and only tried to diffuse the attention to the tree without using any tone editing.
Donât know if it fits the purpose.
That is definitely better.
However, the problem with the photo is that the illumination of the whole scene is very flat. There are hardly any shadows and global contrasts. So there is a lack of depth. Whatâs more, the main subject - the red tree - is very much embedded in the texture in the background.
Thereâs not much you can do except try to artificially turn it into a colorful painting from the 18th century:
IMG_4255.CR3.xmp (21,9 KB)
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Oh. So thatâs where the habit of oversaturating images comes fromâŚ
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Yes, for example Albert Bierstadt:
This photo above could also fit very well as a motif for pointillism. Here is an example by Henri Edmond Cross:
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This may be a generic overview, but synthetic pigments really grew in prominence during the 19th century, and of course dominate todayâs market. They allow to create some colours not previously possible, especially highly saturated hues. That would be the origin of over saturation. Before that artists were using natural pigments, and paintings had a more earthy feel.
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That probably also plays a role. Though some of those pigmens were identical to natural pigments, and some very bright artificial pigments existed already (some metal salts give very saturated colours, and are quite toxic).
But that first painting shown by @s7habo is already plenty saturated (but less so than the later examples)
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Thanks for the input.
Am I correct to see that in the edit you made it so that light (that was missing) did hit the red tree and other zones? And also attracts te viewer.
Exactly. It could have been done much better but I didnât have the patience to spend a lot of time on it.
Normally by dodging and burning you just had to amplify given brightness dynamics or model them a bit but in this case it was hardly possible.
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Thanks for the xmp, itâs very educational! I applied some of the techniques to this image, usually I struggle with images with many branches
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New Episode: Texture softening for a softer look part 2:
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