Fair question. Is it what I think though?? I’m just sharing. If so then often I prefer the relative rendition of most photos because I tend to like punchy colorful images. Sometimes upon reflection I change my opinion. The DT export profile does not support rendering intents so I just share this to show the possibility of using one that does. I use a color profile from color.org . I downscale and post small images so I don’t think it’s a bad thing. Some images are not too different and others are. People might want to experiment with such a profile…
Thank you, @kofa, for your many examples. What does it mean when you write “Sigmoid with hue restored from OKLab color space”.
Thanks also to everybody else. I now understand the origin of filmic’s weird highlight colors (this was my original question in this thread). Turning down white balance sufficiently and using the “highlights saturation mix” slider helps with these.
In the end, this is my result with filmic. I’m quite happy with it. (And my wife agrees that the rendring matches the impression that we had in there.) The interior is a bit dark, but this provides the contrast for the windows. At least that’s the intention.
The secret (for me) was to use “tone equalizer” to darken the windows by 1 EV before filmic even gets to see them. (Thanks for mentioning your use of it with ART, @age.)
240421_110504_01.orf.xmp (9.9 KB)
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I think that was @age in ART and this script:
Looks like these two approaches would both work in certain cases. I feel like v7 is restrictive comparing to v5. Not sure about all the reasons. Perhaps there is something that I am missing that it is considered superior (at least in the development cycle). Personally - I think I have more reasons to consider v5. I would think having a switch that enables / disables “croma preservation norms” would have been better but on the positive side - v5 is still available and also sigmoid so there are options for sure.