I attached three screenshots one as a reference RAW when imported which you can see is more or less neutral. Other is the one when I tried applying D65 preset and the last is the one what you see when I apply filmsim preset to any photo.
I made no changes just the preset and it always turns this way for some reason and is never neutral. DSCF5895.RAF (55.8 MB)
I am not even sure how to white balance it because tune filter even when cranked all the way up wonât fix it and I donât think I should be touching the color module? assuming it applies the D65 preset when I apply the filmsim preset.
whatâs the on-set illuminant here? inside barn/tungsten?
the film sim is not trying to be neutral in a way that camera wb would. film doesnât white balance. if you want a neutral image, youâll have to light it accordingly during printing/when exposing the paper using the enlarger. this is done with a light source and filters in front. in vkdt, the parameters are called filter cfilter yfilter m and there is the tune * equivalent for fine tuning so i can hide the filter * from the ui. there is an optimiser run on D50 white input data to make sure the filters for given film and paper combination result in neutral output, and this determines the default values of the filters.
i suppose if you want a camera wb neutral render you could tweak the camera wb before handing it to the filmsim module. applying the filmsim preset will set the camera wb to D65 (because thatâs the internal white too, so no chromatic adaptation performed). this is kinda the most analog experience.
Yes so far I concluded the same but didnât understand the technical know how so I was tweaking the camera wb before handing it to the filmsim module.
What I âfeelâ like is that I am not getting the âneutralâ output I am supposed to get from the combination of these filters aka I need to manually push yellow and magenta filters a bit to get to something that doesnât cast a yellow tint on the image. could you maybe process this RAF in what you consider an ideal workflow with no user errors and show what the module would create ?
So far I assumed this is part of the process thatâs why for several weeks I have been debating on posting this because I worked around it to get the creative intent across but if it is indeed something wrong with the windows nightly then maybe you can confirm!
These as well as the one I shared were all shot without any artificial light source so I assume it should render it warm for the golden hour light instead of how digital tools usually try to balance it out (which I do prefer but this feels too aggressive sometimes making me question) so Please if you find time it would be very helpful at least for me to understand parts of the process.
If you have ANY suggestions or tips then it will be great! I just didnât wanna do something that affects how filmsim works ideally because I thought setting the camera wb to d65 is the way it should be and me tweaking it will be destructive. While I cannot conveniently play with filters myself (and I think they do more than just wb adjustments I donât even want to) so I am left confused due to lack of understanding.
It looks like a white balance override or a color matrix conflict when stacking presets in this nightly build. Maybe the âcolourâ module isnât correctly reading the camera metadata once the filmsim is applied.
as i pointed out above, the filmsim disables camera white balance because thatâs not what would happen in an analog camera (and all the rest i already wrote above). see here:
$ cat presets/filmsim.pst
# put spectral analog film simulation into the default pipeline
# instead of filmcurve and local contrast.
# see the [filmsim module](../../../src/pipe/modules/filmsim/readme.md).
module:filmsim:01
module:i-lut:filmsim
module:i-lut:spectem
param:i-lut:filmsim:filename:data/filmsim.lut
param:i-lut:spectem:filename:data/spectra-em.lut
connect:colour:01:output:filmsim:01:input
connect:filmsim:01:output:display:main:input
connect:filmsim:01:output:hist:01:input
connect:i-lut:filmsim:output:filmsim:01:filmsim
connect:i-lut:spectem:output:filmsim:01:spectra
connect:-1:-1:-1:filmcurv:01:input
# vvvvvvvvvvvvvvvvvvvvvvvvvvv
param:colour:01:white:1:1:1:1
# ^^^^^^^^^^^^^^^^^^^^^^^^^^^
itâs very easy to create another preset if that suits you better. or just stack the whitebalance-camera.pst on top, itâll revert to cam wb.
i could imagine that for some specific camera model the matrix + wb coeffs are intermingled in weird ways that they shouldnât⌠but thatâs hard to judge from just a tungsten shot, ideally @Yogansh_Bhatt would supply one more RAF with close to D65 illumination (or D50 that should look neutral in filmsim).
as to editing the RAF in the OP: iâd probably leave it red, iâm not a huge fan of neutralising everything. i can imagine thatâs what it looked like irl.
when I apply the pick preset it automatically resets the wb preset to d65 (I had already applied the filmsim preset) and when I change it back to camerWB then it ofcourse makes it a lot more cooler. Now I may have no clue how this works but from what I saw it seems to be applying the preset twice? because if NOW I select d65 preset it looks absolutely fine
I bet this cannot be healthy bit of warm with kodak ektar100 and kodak endura premiere as film and print .
Oh and that bug of edit history stack going behind has been there ever since I started using VKDT and I was unbothered with it so if it is a bug you may have a look!
If you need anything that I can manage to provide then I would be more than happy to.
sorry i canât follow you jumping through here. maybe post .cfg files for each one of the steps? in particular if you do spot wb it depends where in the graph you pick the colour, and certainly it replaces the D65 white balance (since these both will set parameters in your colour module), so applying that on top makes no sense to me.
