Keep in mind that the EV scale used there is logarithmic
The “18%” position corresponds to “display middle gray”, so it is a fixed point at rgb (0.5, 0.5, 0.5).
“Display white” is another fixed point, at rgb (1,1,1). And the distance between fixed points is
constant (2.7 EV in this case, iirc).
As the EV scale is logarithmic, you can’t reach display (0,0,0), but you can fit an infinity of steps in there. (and of course, as the display uses integers, low values will get rounded to 0.0, to keep things simple)
I think @anon41087856 explained all that much better…
Yes, that is all fully understood … but when we are in the process of adjusting our images the lineal view does make more intuitive sense … or is it just me?
Because your display remains the same no matter what, it’s good old sRGB (or at least, we assume it), so 12.67 EV of DR. And your SDR display always has 2.45 EV between middle grey (18%) and white (100%). Whatever your settings are, whatever your scene is, your screen remains 12.67 EV sRGB with white at 100% and grey at 18% (and if it’s not sRGB, it will still be close in terms of dynamic range). High-key or low key only decides how the histogram is shaped, but the luminance capabilities are bound to hardware limitations and ICC standards.
Thank you for introducing “safe” in contrast options in filmic. Now, one can use the contrast slider without pushing values into negative (orange parts of curve).
Before, I(!) was unable to get such results using the other sliders although i guess it’s possible. For me, it was a missing part. Thanks again.
It works great to give you a great look in medium tones and with default parameters.
But when I have skies with clouds with billiant lights (and a bit overexposed in some places) I don’t get very good results. It tends to make skies dull and I want a bit more dramatic effect.
It is understandable to some point as any S curve or contrast curve will give you contrast in midtones at the expense of compressing highlights and darktones.
But It was easier for me to expand lights previously using curves or other tools.
With filmic I do not find easy to do that even if I am using color balance to expanse highlights (and apply it only to them with parametric masks).
There are many options in filmic, it does lots of things at the same time and I cannot understand all that technical stuff (even if I have read it several times in the last year, from version 3 of filmic, but it is getting more and more complex each version).
Here is an example with a raw photo of mine.
I have used color balance to tweak highight, midtones and darks separatly, some local contrast, contrast equalizer, and so.
I have upgraded the edit to use filmic v5.
Share this on playraw you will get lots of feedback…don’t try for dramatic skies with filmic…use it to manage tone then use other tools…the new colorbalance rgb has a lot of tools to work on the sky also be sure to visit the master tab and use the picker to set your white fulcrum and you can further adjust shadows and highlights with internal masking…I think you should have what you need…
That would be great: how to get best results from filmic only first, and then if needed I will try other modules like color balance RGB to expand highlights (may be curves, but I think curves will change color and affect hue in most cases).
For sure you can share here with your specific question but if people don’t read the post they may not see it…so playraw is scanned may many users…people share images just curious as to what others would do or with a specific question…sorry for any confusion. You would need to share the original raw. You have provided your xmp which is great. Others will share theirs with you. You just also need to add a creative license tag so that others will feel that it is okay to edit it…so just add this when you post images… Creative Commons — Attribution-ShareAlike 4.0 International — CC BY-SA 4.0
This kind of edit is what I was looking for: do as much as you can with filmic, but then use other module to expand hightlights and give light to the darks.
Using color balance and parametric masks does not give many times the effect I want: you cannot push light as much and it can create halos.
What level should “latitude” be set to by default? I see it is set to 25% and my program defaults to 0.01%
Generally, I’ve never used it, and here I read that it adjusts the contrast. Hmmm
More recent versions of filmic set it essentially to zero for a full transition using a curve from white and black to midtones… you are free to set as you like …
