You beat me by half a minute 
Thanks!
@Terry You put the histogram into RYB channels (the marked colour wheel on the top right) and when you then choose the vector mode (elipse on the top right corner of the histogram box), you can choose the different harmonies.
Scroll/Shift scroll turns the âcake piecesâ around.
@apostel338 and @sushey I am on windows v 4.40 and V4.5 and this option is not obvious on either of my versions.
Edit: Found it. At first not obvious and easily overlooked. The short video @kofa linked revealed how to find it. Thanks. Personally not convinced I will ever use it, but I wonât use the word never. Someone thought it was worth their time to create the feature so I will remain open to the possibility that it may be useful.
I see. I am sorry then, I only know the linux version.
@sushey have found it now. The next issue is trying to work out why I would benefit from it, but that may be a can of worms I donât want to open here. My original post was to see what new features had turned up in DT that I was unaware of. Speed seems the big one and I am certainly noticing that.
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See
Iâm not conscious enough in my photography and editing to use it, but others will probably find it useful.
his edit for that image looked good. I might try and tease out what he did to get the look.
I think Boris touched on it in one of his videoâs and it might be the topic of his next video⌠Kofaâs link is as good overviewâŚ
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I was sad to see no option was made available to indicate desired Copy, Paste, etc, should be the highlighted photo instead of where ever the mouse was tanglingâŚ
For me, the benefit lies in doing colour grading and, maybe to a certain degree, colour correction. I think, the whole vectorscope idea comes from the tools you use for editing movies, where it helps you to match different shots or grade according to a certain colour palette (think Wes Anderson movies or something like Breaking Bad or Better Call Saul).
It does honestly feel a litte gimmicky since I look at my picture and how it makes me feel and how I want it to make me feel (and then I make the adjustments), but then again I am not doing much colour grading. It does help you to judge saturation and hue, though (Vectorscope - Wikipedia)
I do like colour contrasts, however, and I think it can help me find contrasts that are not the standard âteal and orangeâ (and I hope to learn more on the way).
Gerald Undone has done a few videos on colour grading and the use of vectorscopes that I think are pretty great (though video-centric) - like this one: How to Color Match Cameras & Grade Log Footage without a LUT - YouTube
Also, Borisâ video is of course great, too 
I am not into editing videos, but I really appreciate how some movies the lighting and the color grading just make the movie great and other movies look so bland. Hopefully there is something for me to learn here and certainly the link provided by @kofa inspired me to look deeper into the editing performed by Boris.
I also really enjoy FilmicV7. I had a lot of issues with magenta highlights before. This version with the new slider makes life way easier.
What I love most however is the improved performance in some modules. Boy, has my old machine become fast!
As of local contrast, the preset âclarityâ isn´t exactly new, but I also love it.
You should probably fix magenta highlights in highlight reconstruction.
Yes, but I understand, that this is primarily for specular highlights, not for e.g. sunset?
No, there are several methods for reconstruction since 4.2.
highlight reconstruction is for all kinds of sensor clipping.
With filmic, you can desaturate highlights, and also add a blur between areas above the set relative white exposure and those below it, to smoothen the transition. However, you could do that even if the data is not clipped at the sensor, itâs just that itâs above the selected white level in filmic (you chose to discard some data thatâs not interesting for you). filmic does not even know what is clipped at the sensor level.
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O really? I didnât know, that I could add a highlight-blur in filmic. How?
@Daniel_Spenner I agree with the others who have suggested magenta highlights are handled well in highlights reconstruction module in v 4.4. I just need to sometimes lower the threshold setting a little to get the best out of it. I use the new default impaint opposed successfully for most image with the magenta hell as I call it, but there are other good options as well. He is a screen shot from an image with extreme magenta problem in blown out clouds. Note how the threshold has been lowered. There are also some good recent posts about the magenta problem and solutions. BTW, filmic highlights reconstruction is not one of it real strengths and I rarely use it, but sometimes it has some usefulness.
Read the section âtransitionâ.
Use this control to soften the transition between clipped and valid pixels. Moving this control to the right will increase the amount of blur in the mask
And âbloom â reconstructâ
Use this to control whether the algorithm tries to reconstruct sharp detail in the clipped areas (reconstruct), or apply a blur that approximates the blooming effect you get with traditional film
There are videos around in the web based on dt 4.0 and they deal with speculars as the new algo in dt 4.0 was good for those.
In dt 4.2 we had two new methods that were designed to handle large blown-out areas!
(Of course also speculars)
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If I have an image with large clipped areas, itâs either a user error (wrong exposition for the situation), or a choice to keep the important area properly exposed, and the clipped area isnât all that important.
If there are clipped areas (even if only one channel is clipped) you will have loss of information, which can give e.g. colour shifts or loss of detail.
That said, with dtâs tools you can often recover a surprising amount of realistic texture in clipped areas, as long as at least one channel is not clipped. But htis will need a combination of highlight reconstruction and filmic âhighlight recoveryâ, (which is not a simple âhighlight blurâ, note how the manual speaks about âblur in the maskâ!). And finding the optimal settings for the different parameters can take some time.
Dt has wonderful tools to deal with over-exposed areas, but I rather want to not need themâŚAnd they require practice.
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