DxO PhotoLab Patch

December 9, 2021 / Rating: 4.9 / Views: 695

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DxO PhotoLab Patch

DxO Photolab 5 The Verdict. I am impressed by the development of the DxO Photolab series. Previous versions have always provided excellent editing tools for local adjustments and lens correction. DxO Photolab 5 is a clear step above the previous versions. DxO Photolab works well just as a photo library tool. It makes it easy to find and.

DxO PhotoLab Patch
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When photographing wildlife, there are a number of challenges that affect the quality of the final photograph:1) the need to shoot in low-light when many wildlife are most active, 2) the lack of reach due to far-off subjects or “too short” lenses, which necessitates cropping to get a desirable composition 3) sometimes subjects are fast moving and dropping the shutter speed to compensate for low light is not an option These issues, coupled with limited budgets with which to buy expensive lenses that fare best in low light conditions can only lead to one thing: noisy images. Early in my hobby I was quick to throw away images with noise, but with great improvements in noise reduction software technologies, reasonable improvements can be made to even the most noisy images. Today I wanted to investigate three different methods of noise reduction for digital photos and answer a question that has been on my mind for a while: how do different post-production noise reduction techniques compare? To do this, I compared the same photo with noise reduction applied using three different software methods: Topaz De Noise AI, DXO Photolab 4 Deep PRIME, and Lightroom Noise Reduction. I have also posted a link to the for those who might prefer to make their own comparisons. If you are viewing on mobile, I suggest going straight to those full size jpegs to review the images and using pinch to zoom to inspect closely. For the “too long, didn’t read” crowd, please feel free to jump straight to the results. Every camera on the market produces digital noise, and every image taken has some amount of noise. Noise is a digital “grain”, or erroneous colors that show up at the pixel level. These can be caused by random emission of photons from light sources, or during the process of converting the analog signal of light hitting the sensor to digital pixels in-camera. In simple terms, the weaker or noisier the signal, (i.e., quantity and quality of light photons reaching the sensor), the more noise becomes evident in pictures. Noise is less obvious when the signal is strong such as a brightly lit scene, however, when photos are taken in low light or with high ISO settings, noise becomes more noticeable. It is not that the noise necessarily becomes stronger, it is that the signal isn’t strong enough to overcome the underlying noise present in the image. By lifting the shadows in post or boosting ISO to achieve proper exposure for a dark scene, one is effectively lifting the baseline amount of noise that is present in the image in addition to pixels expressing the true signal. My experience has been that boosting ISO is generally a means to achieve proper exposure at a given shutter and aperture setting in-camera without resorting to post processing, not as a means to lower noise. I’ve found that raising the ISO in camera to achieve proper exposure versus increasing exposure in post achieves more or less the same result in most cases. When noise becomes more obvious, it starts to become a nuisance. If the goal is to have a realistic looking image, noise can be detrimental by shrouding the image in a veil of multi-colored specks that start to obscure detail. Cropping an image also affects the apparent noise because the size of the noise pixels increases when cropping, making them more prominent. Post-production noise reduction tools, especially the modern ones with “AI Technologies” promise to reduce the effects of noise while preserving detail. The holy grail of noise reduction would be to reduce or eliminate the apparent effects of digital noise whilst having no detrimental effect on detail. The reality is that too much noise reduction can make an equally unpleasing image by obscuring details or creating “over-baked” looking image. Notwithstanding, these tools are useful because noise reduction can subjectively improve the final output in many cases. I set out to investigate the effects of three different noise reduction software and to compare the end result of these different approaches to noise reduction. For the purpose of my investigation, I wanted to choose the same photo for comparison which clearly has some apparent noise when viewed at 1:1, but is also a clean enough image that detail is visible, and it looks reasonably good at full size without any edits applied. For this test, I left all of the default settings in software alone (i.e., no edits) and simply changed the noise reduction settings or toggled them off completely. I then made some subjective comparisons below based on taste. I turned off sharpening on all of the programs to rule out this variable. 10.4Please make sure to click on the images for a closeup view, otherwise the differences won’t be readily obvious because the noisy pixels are so small. Note that for Topaz noise reduction I utilized Lightroom as the raw processor. If you are on mobile, you’ll want to view the images directly here: Overall, I would say that DXO’s NR algorithm had the least deleterious impact on overall subjective image quality. DXO Deep PRIME requires the use of DXO Photo Lab as the raw processor. Out of all the settings I tried, my preference was for Luminance 40 , which was the default setting in the software. EXIF info for the image used in this comparison is as follows: Canon EOS R5, ISO 2500, F/5.6, 1/250th @ 145mm. It clearly took care of some of the nasty luminance noise but left a pleasing grain and photo that looks natural overall. With a luminance value of 100, I notice a very slight drop-off in fine detail without any appreciable improvement in the overall look of the photo, and to my eye it starts to look ever so slightly “chunky”. I would say that DXO yielded impressive result with this image with minimal effort, all I had to do was import the photo and turn noise reduction on. Topaz Denoise AITopaz has three sliders, including “Remove Noise” “Enhance Sharpness”, and “Recover Details”. Remove noise functions as described, removing noise - but it also seems to increase sharpness and boost detail - perhaps part of the AI algorithm. Enhance sharpness seems to function as a simple sharpness slider. Recover details seems to remove some of the chunky/blockiness that is evident when “Remove Noise” is applied, but at the consequence of adding a bit of noise back into the image. I actually prefer it when this setting is added back to the photo because it provides a more uniform grain as opposed to areas with and without apparent noise. Settings used (Remove Noise - Enhance Sharpness - Recover Details): Lightroom NRLightroom NR has sliders for “Luminance”, “Detail”, and “Contrast”. The luminance slider reduces the amount of luminance noise in the image, but when it’s pushed to the max the resulting image looks like a mushy, blocky mess. The detail slider, which seems to work similarly to Topaz’s recover detail slider, attempts to add detail back into the image at the consequence of adding back a little noise, but unlike Topaz there are still blocky artifacts evident in the image. Maxing these sliders out makes for a rather unrealistic looking image in my opinion, and one would be well advised to use the LR sliders modestly. Contrast is supposed to add back contrast lost in the NR process, but in the case of this image it seems to have very little effect. Settings used (Luminance-Detail-Contrast): I generally found it was easy to get good noise reduction results with all three programs. That is to say the programs removed luminance noise while generally preserving detail, if used modestly. When I look through the images at full-size on my screen and start pixel-peeping, I personally gravitate towards the DXO images. Even at the strongest setting NR applied, DXO’s algorithm seems to avoid most of the chunky blockiness that is possible with the other two, and the resulting image looks (subjectively) more natural to me. That is not to say that great results aren’t possible with the other two, just that it is far easier to overshoot the mark and either destroy fine detail or produce a blocky/smeared look to the image. That being said, I am inclined to say less is more for all of these programs - it seems the best course of action is to dial in the minimum amount of NR that is necessary to reduce bothersome noise while retaining as much detail as possible. The following shows closeups with all of the images together: For an image like this where noise isn’t strongly apparent at normal viewing distances, it is perhaps unsurprising that noise reduction doesn’t make an big difference to the look of the image. However, when viewing a close crop, the benefit of noise reduction tools is obvious. To me, I can barely see a difference between any of these images at normal full-screen size (Mac Book 16”), but when cropped down to 1:1 the noise is strongly apparent. Please feel free to take a look at the and draw your own conclusions. While the above image shows what can be done with an image with modest amounts of noise, what about an image with more prominent noise? I decided to test this again using another image shown below. From there I repeated the same test with the same settings that I used above. In repeating the test with this noisier image, some things became readily apparent to me that weren’t as noticeable in the first image I tested: Images from left to right with slider values used (generally less to more NR applied from left to right). Use the pinch to zoom or CMD on your computer, or right click and “Save As” to your desktop to view more closely, if desired. Images from left to right with slider values used (generally less to more NR applied from left to right). Use the pinch to zoom or CMD on your computer, or right click and “Save As” to your desktop to view more closely, if desired. Topaz1) Default settings of 15,15,0 in Topaz led to undesirable, blocky patches with and without noise across the image. 2) Bumping up the “Recover Details” slider in Topaz resolved the issue above, at the cost of adding an acceptable amount of noise back into the image. 3) Maxing out the settings made the image start to look a little blocky, “chunky” and unrealistic. DXO1) Good results were obtained in the middle ranges between the default 40 and 70 slider values. 2) Maxing out the slider produces a reasonably good image but it begins to loose detail and look a little bit unrealistic. 3) Unlike the other two software its harder to ruin the image by overdoing the NR. LR1) Lower settings led to generally more favorable results, but the image remained noisier overall.2) Higher settings start to destruct details more quickly than the other software3) Maxing out settings obliterates detail and leads to a mushy image. After testing this with other images, the above settings seem to be a good starting point for all types of images with noise issues. LR works reasonably but in general I found I could get better results out of both DXO and Topaz. These preferences are of course subjective and may vary from one viewer to the next. Overall, my favorite results were observed with the following slider values: Topaz (Remove Noise - Enhance Sharpness - Recover Details) : 75-15-75DXO (Luminance): 40LR: (Luminance, Detail, Contrast): 20-50-0Links to the full-size jpegs can be found here: A friendly forum-goer sent me a message and let me know that my Topaz version was out of date, so I quickly updated it to the latest version V3.2.0 and did the test over again to see if there was any change when the image was processed with Topaz. After matching the settings with my original test, I ran it again and checked over the results - which were more or less identical. I then decided to check whether the other available models improved the results at all. Below are four images, top left: no NR applied; top right: 75-15-75, Denoise AI model; bottom left: Clear AI model (auto settings); bottom right: Low Noise model (auto settings). Clear AI seems to make the grain even finer and less pleasing overall, Severe Noise model seems to have the same issue of patches of noisy and non-noisy areas unless you utilize the “recover details slider”. In general, I found the best results to my eye so far with the Standard model set to the following slider settings N:75, S:15, R75, C:0 - the result was a uniform grain without weird artifacts (e.g. blobs of noisy areas and non-noisy areas) and a reasonable amount of noise reduction. I should add that the Comparison View provided in the newest Topaz Denoise AI version is really great way to identify the best model and settings for the image at hand. If you are viewing images at full-resolution, cropping minimally, and avoiding extreme ISOs on the camera, probably not. However if you do need to crop or are in a situation where you have to push the ISO to extreme levels, noise reduction can help. This useful test on a personal level, because it shed light on a lot of questions I had about how the noise reduction compared between these tools, and how images respond to changes in the slider values. For example, maxing out settings in LR led to a great loss of detail and a "mushy and chunky" look, while modest settings looked pretty good. Leaving Topaz at the default settings led to blocky-looking, unfavorable artifacts with patches of noise and no noise, but the Recover Details slider fixes it and the result looks great. The DXO results are the most consistent, and the NR slider is generally the "safer" of the three - it's harder to really mess up the image even if you go overboard on the slider, and you start to see diminishing returns after a value of around 40. Overall, I found that when used carefully, both DXO and Topaz did a great job with noise reduction, retaining lots of detail in the photos even at 1:1. The LR image still looks great at normal viewing distances, but starts to look rough up close especially when heavy NR is applied. Overall, I still think DXO Deep PRIME provides the most straightforward noise reduction out of all three and the choice I’d go with if I had a troublesome photo with noise issues and not a lot of time or desire to tweak settings. There’s only one slider to adjust and there is minimal potential to add artifacts to the image even if you max out the NR slider. Topaz Denoise AI has the advantage of being a standalone plug-in that works seamlessly with Lightroom workflows, and can achieve similar results with a little bit more effort. Both of these tools clearly offer an improvement over the standard Lightroom NR tool. If noise isn’t apparent at normal viewing distances, which is the case for 99% of the photos I shoot, I can’t see myself spending a lot of time with noise reduction, but there’s no question it helps with those photos where image noise was unavoidable.Dx O has announced the latest versions of Dx O Photo Lab and Dx O Film Pack. Dx O Photo Lab 5 features improved Control Point functionality and new ways to adjust images, more efficient Deep PRIME implementation, improved asset management tools, and for the first time, Fujifilm X-Trans support. Dx O Film Pack 6 includes X-Trans support, plus a new 'Time Machine' feature, new film stocks, and improved handling of H/S/L adjustments. Dx O Photo Lab 5 Dx O's U Point technology underwent significant improvement in this year's release of the Nik Collection by Dx O. These same improvements, and more, are now coming to Photo Lab in today's release. In Photo Lab 5, the Control Point now includes sensitivity settings, allowing users to more easily adjust areas of their photos based on the luminance and chrominance of selected areas. Film Pack 6 also adds 20 new creative effects, including drops and crumpled paper, to give your photos a vintage look. The application includes 15 new light leak effects, like light spots, haze and zoom. It also includes 15 new frames, such as matte, black frame and film border. When editing your color images, a new color rendering engine offers users access to eight color channels for hue, saturation and luminance adjustments, up from six in the previous version. Users can also now select a hue for highlight and shadow regions, allowing for split toning. While new film renderings and editing tools are excellent additions, the new Time Machine feature is perhaps even more interesting. Dx O writes, 'Dx O Film Pack 6 provides users with a true journey through time, offering an introduction to the history of analog photography from its creation to the present day. The software introduces a new way of displaying creative and analog renderings separated into 14 periods illustrated by legendary, iconic images, and famous figures in photography. Each photograph is documented from a technical and historical perspective, and users are provided with the closest rendering so they can apply it to their images and recreate a similar style and finish.' With Time Machine, users can learn about historic photos and the processes used to create them. Users can then apply a similar film rendering to their images. 'We wanted to give Dx O Film Pack even greater depth,' said Jean-Marc Alexia, VP Marketing & Product Strategy. While exporting to TIFF was some better than Capture One, exporting to and opening in Photoshop was downright phenomenal – then I could fine tune there before saving. 'To document our Time Machine, we collaborated with the Friends of the French Museum of Photography in Bièvres, an association chaired by the photographer Didier Pilon, who produced fantastic research.' Dx O Film Pack 6 is available now with special introductory pricing. Downloaded this in demo-mode to try it out on a Halloween show shoot where everything was shot at iso 12800, with many underexposed a whole stop even at that. A new, expensive, solution for my very high iso images. It is wonderful to find my fuji camera and lenses profile, but I wish they offered more recent iphone support than iphone X at the moment. Until November 14, Film Pack 6 Essential Edition is $54.99 instead of $85. Special upgrade pricing is available for owners of Dx O Film Pack 5. So many photos are taken with iphones (and popular android phones) and ideally those profiles should all be there in DXO. Hi I still have PL4 and delighted to get processing for Canon RF 14-35 free, even though it's not yet perfect. I can't understand why denoise processing speed is important. Process 200; get a good night's sleep, 'cos you've earned it. On my pc uncropped pictures take about 2 minutes each, but it's a one time deal. If, like me, you love the denoise delivered by Dx O, the wait is worth it and really rather interesting if you think you have something worth seeing. If, like me, you are rather old, the wait is very short compared to sending your film to Agfa for processing. Deep prime is especially effective in a multi -core processor , and everything works so much faster than before Deep Primed export i 20MP Sony a58 file-6 seconds...! Often though the screen blanks out applying changes. I am finding seriously remedial improvements in noise reduction in older files, BUT, and it is a big BUT, deep Prime might not work AT ALL on your files. Today I discover that I can make and preview its corrections on Olympus e-30 ORF raw files, BUT I cannot export and save the edited files at all . AND there is no upgrade for old customers with PL2 like me. I have to pay the full amount AS AN UPGRADE to get the elite edition , and now this means that having moved the goalposts, once you "upgrade" to a new version you can no longer update, add to, or transfer your fully paid elite editions or upgrades to them to another machine: you lose your older versions that often do things they have since left out- like shadow radius in mobile 1020 Lumia DNGs. Olympus E30 ORF files still save to exported jpeg with only the Prime NR, but I am still unable to save a Deep Prime E30 ORF raw file as a jpeg. Since in the preview at 100% its really doing a good job getting rid of noise, it kind of makes you MAD!!! I'd still buy, but wait a couple of months until they sort glitches like this one out. I have uninstalled antivirus, run PL5 as an administrator, etc. but it makes no difference at all, in Windows 10 Pro. As the reduction in noise in these older file types may be life-changing for them, I just hope they fix it ASAPI posted yesterday about PL5 being slightly slower than PL4 on my desktop computer with GTX 1080 GPU. I've now installed it on my seven-month old laptop (NVIDIA RTX 2060 with Max-Q GPU, and i7-10875H CPU), and I ran the same tests. Processing the 40 raw images with Deep Prime in PL4 took , while processing them in PL5 took only . So PL5 is more than twice as fast as PL4 on my laptop, and it gets close to the processing speed of my desktop computer. I bought optics Pro 11 Elite and upgraded to PL2 & for ages could reinstall my 11 elite on a replacement machine. If you delete it, tough, you cannot reactivate the Optics Pro 11 Elite edition you paid full price for ever again, not even by installing it from your CD. Apparently the speed boost from PL5 on a PC requires a more recent GPU, but not necessarily high-end 30xx. You can only use and activate again (possibly) your upgrade (in my case PL2)If you then upgrade to PL5 you lose that as well. To bring you better service in the future, we have improved our E-commerce and account management system. It is theft basically, as in my case I have already paid them 200GBP and they now demand another 150GBP to install PL5 (which is not working properly..) , voiding my PL2 upgrade installation possibilities at a stroke. For now, Order history & invoices for purchases made before April 8th 2021, are no longer available in your new customer account. WE have had long, contentious email correspondence about this, but they refuse to go back to the old arrangement which let you reinstall previous editions you had paid for. There are class actions over just this sort of thing in the US, but DXO Labs like their rewrite of contract. I have several times had to reinstall a wiped system , and a new OS. In both cases, when this occurs you need to make sure you KEEP your existing DXO software on your hard drive, because, Ladies & Gentlemen, you will not get a replacement download activated except it be your current latest paid for version, because Frog One ( and yes, no predjudice, I'm half French! ) refuses to reactivate PL2, or DXO 11, for example if you have them on disc and yet have upgraded, or even bought the Elite edition at full-price, but have since "upgraded" to a more recent version. I have DXOptics Pro Elite11on a DXO CD but they now refuse to let me install it and activate it as, ha ha!! I can still reinstall PL2, but have to write and ask them nicely as they cannot keep track of installs and assume you are adding more machines. Set luminace at 6, and Chrominance at 60, and on a normally exposed file all noise just disappears leaving you with the photograph you first thought of!! If you use recent cameras & lenses PL5 does replace everything & is half-price till the 29th in the UK. I have done this with D800 files and find that raised to up to 40 luminance all noise can be got rid of right through into the shadows with really noisy files, with in many cases, little reduction in resolution. I have done really underexposed S1R files shot at 1600, to be delighted at getting my photographs as I visualize them, and the same can be said for old Canon 1Ds files up to 400 iso, that I have waited a decade for the software to be released that copes with its noise patterns. PL5 is WORTH the monewy as you'll never need a fast expensive lens again!! This article says that the speed improvements in PL5 are mostly for Macs, but it does claim a 1.5x speed boost for PCs. Before installing it, I put 40 raw images into a folder, opened PL4.3.1, applied Deep Prime to all of them, then exported them. From the moment I clicked the export button until completion took 3 minutes and 15 seconds. I noticed when I opened PL4 that an update was available and it looked like it includes some performance improvement, so I installed that, bumping the version up to PL4.3.3. I ran the same export on the same photos, and it took 3 minutes and 11 seconds. Then I installed PL5 and ran the same export on the same photos. This is on a Windows 10 PC with an Intel i9-9900X 3.5Ghz processor, NVIDIA Ge Force GTX 1080 graphics card, and 64GB of RAM. Folks on PCs who want a speed boost should trial and test before buying. I had a very similar experience with my Windows 10 PC with intel i5-6500 CPU @ 3.20GH, 32GB RAM and Nvidia MSI Ge Force GTX 1660 Ti 6 GB VENTUS XS OC GPU. I processed 34 images through PL4 v4.3.3 (latest version) which took 5 mins 37 secs. I then ran the same images through PL5 which took exactly the same time to complete. I concluded that there would be no advantage to me upgrading to PL5 and that I would be better off spending my money on upgrading my PSU and motherboard. Bought the package Photo Lab4, View Point3 and Film Pack5 in mid-August. Didn't know that they bring a new version pretty much every October... Anyway, paid the upgrade for Photo Lab5 and Film Pack6. FP6 is not a big upgrade and perhaps not really worth it but the upgrade was 20% off and I believe I got another small discount on the whole order because I recently purchased a licence (got automatically an additional $12 on top of the 20%). It's a great software and whilst a bit pricey, it is better than anything I used before. I guess for the money I spent now, I could also have purchased Capture One. What I don't like about Dx O is the fact that you have to purchase several products to get features that should be part of the main product. It would be more customer friendly if they would offer one product and one version at an honest price. Yes, if anyone is considering anything except the Elite versions, don't. The normal versions are so feature crippled as to be worthless (except that users have to pay for them). Essential Photo Lab does not include Prime or Deep Prime noise reduction. PL 5 does NOT give me any performance benefits over PL 4 when processing Deep PRIME denoising. MSI Ge Force GTX 1660 Ti 6 GB VENTUS XS OC Video Card. There have been quite a few missteps lately though. Even Elite Photolab does not include Fine Contrast (the most important microcontrast tool in Photo Lab). My For my PC which has the following configuration: -. Windows 10 (64-bit build 19043.1288)There is definitely not 1.5x faster performance as far as I'm concerned. Nik 4 reduced compatibility with third-party applications! To get access to Fine Contrast one must add not just Film Pack Essential but Film Pack Elite. For some reason Dx O felt it was a good idea to cut off Capture One users and Photoshop CS6 users from using Nik plugins. There's no way that Dx O should be hiding Fine Contrast off in Film Pack let along Film Pack Elite. Now, Dx O has made it official that they only support current Mac OS and the previous release. My arm was twisted to buy Film Pack Elite just for the Fine Contrast feature which clearly should be part of core Photo Lab (even if in the Elite edition) and not in some film emulation add-on (which otherwise I didn't want). Did you find the times to download the dmg files long? This means one must either be on 10.15 Catalina or 11 Big Sur. On the Windows side, support only goes back to Windows 10. And so it is with all the extra tools and all the Essential versions. I’d need to buy film pack just to use that one slider and forget the rest. I ask because I recently upgraded my nik collection from 3 to 4. This is the worst OS support of any of the major photo software vendors. The Essential version are worthless and broken by design. Buy Film pack elite for fine contrast Buy viewpoint for perspective distortion and volume deformation correction. No matter which browser I used the download time was at least 45 minutes. Finally spent the 45 minutes using firefox to get the dmg. Capture One, Fast Raw Viewer and Photo Mechanic all still manage to support OS X 10.13, 10.12, 10.11 respectively. After investing €500 in Dx O software, Dx O is now telling me to throw away all my working Mac Pros running 10.14 if I want to enjoy software improvements. I have a optic fiber connection at home so it should be relatively fast download time. Think carefully before getting on the Photo Lab train, it's very expensive. Any OS version later than Mojave is a total disaster on my Mac Pro (widely reported “watchkeeper timeout” issues, which Apple seems unable to fix, or uninterested in fixing). OS X versions which have been good include 10.6, 10.8, 10.11 and 10.14 (10.12/10.13 were not terrible except the way 10.13 broke all external display hacks like Duet, it was a deliberate strategy to orphan any external i Pad monitor technology except for Apple's own Sidecar, a sordid trick worthy of Microsoft). Also, not sure this has anything to do with anything, DXO is a french company. My primary software is C1, but I’ve been keeping Dx O up to date. 10.15 Catalina is not very good (between technology, neither fish nor fowl). The jury is still out on 11 Big Sur and 12 Monterrey. Eventually one of those two will run stably and with some careful hand-tweaking made to respect its owner's privacy. At this point the right answer is none of the above. Such a draconian policy more befits a flashy video game for teenagers than professional photo editing software.…or a company that cannot afford test engineers and/or wants to find excuses to minimize tech support costs. As far as Mac OS is concerned, I go way back, and the last time I can remember such a disastrous upgrade was 7.5.2 … I'm not really sure this adds much to PL4 or FP5, but as upgrades are often 1/3 to 1/4 the cost of C1P upgrades I'll consider it, as Prime and Deep Prime are still so far ahead of any other Raw Tool's noise processing you really do need DXO as an option. and similarly to upgrade from Mojave upwards, that also was fine, just so long as you didn’t plan on using any external hardware. (Generally I use C1P if noise or lens corrections aren't an issue. DXO otherwise.)Being a long time user of Lightroom, I seriously wanted to give photolab a try but it didn't have fuji support but now it does! From what I read, it does take more time to master and it is slower than LR but it produces better results, what a dilemma... Acquiring both would be a serious budget The “DAM” capabilities are somewhat there now. You just index a folder in your system and can select/do queries by meta data. So now TWO sidecars per image, which I'm not thrilled with having to manage. It actually works pretty fast and nice AND YOU CAN KEEP USING THE FILE SYSTEM FOR YOUR PHOTOS which is great because when LR has a bug in their catalog or another app- it’s cry-painful time. But at least the keywords are not restricted to the database file only. You also save time on an import process you don’t need to do. I rather have that, that some custom database format with a risk of losing files. The file system (windows or mac) is one of the most tested things (imagine if your file system had bugs/files got corrupted/vanished). I wish I'd found a list of compatible fuji cameras before paying for it. Note that the Fuji sensor support doesn't go back to the XTrans 1 sensor. Seems that you need do pay extra for another add-on if you need everyday perspective corrections that other similar products include as standard. I quite like its handling of Fuji files but not at £150 for Photolab plus another £45 for Viewpoint. It's bad marketing IMO; had they provided even basic keystone correction in Photolab I'd have bought it - and possibly Viewpoint as well if I ever needed its extra features - but their sales tactic has left a sour taste in my mouth. In fairness Viewpoint and Film Pack haven't been updated for ages, so you get their functionality without paying every time you do a Photolab upgrade. I bought Film Pack5 six years ago and View Point3 five years ago. Viewpoint is way more than "everyday perspective corrections". It goes beyond why Lr does, and WAY beyond C1's miserable excuse for perspective correction. It is also works as a Photoshop plugin in its own right, so totally separate from PL. (of course recently a clone also appeared as NIK Perspective FX, which says all you need to know about Dx O's marketing principles)Very selective quoting. I didn't suggest Viewpoint is not more powerful, I did say that Photolab doesn't provide even the basics to do "everyday perspective corrections that other similar products include as standard". I don't need the bells and whistles that Viewpoint offers but I do need the "everyday perspective corrections that other similar products include as standard". Certainly you used to be able to get an older Viewpoint version and have that level of functionality in DXO, also Film Pack (I'm sticking at FP5 BTW). I’m just trying to decide whether I stick with C1 for my main editor and just buy pureraw or ditch C1 and go all in on DXO. I actually have about 6 (update - 7) Raw tools, although 2 are free ones I don't use and just played with to have an opinion on. Worth checking is still the case if thinking of it. Basically stuff needing lens corrections (DXO's selective sharpening is really great) or noise handling (ditto) goes into PL4, stuff I want to get a lively pic out of in a hurry into C1. (Also whether is available anywhere.)I'm not sure anything else has as powerful features built in. I also have an old Lightroom v6 (partly for colorchecker support, partly as why delete it) and an old Silkypix Pro 9 (which I got to see how it handled Fuji XTrans files). I think most of these were with with discounts, the C1P purchase was a big reduction... I can't remember if you get basic functionality without VP installed, as I've had it for ages - you certainly used to, but I think it may have missed the cut at some point. Oh and Canon's DPP which I play with about once a year, usually when I want to use DLO (which is amazing, but DPP4 doesn't seem to run well on my system). I'm wondering if I could go DXO only as C1 upgrades are so expensive and I need DXO for the noise reduction, so that's going nowhere... Capture One Pro:v11 full £200v12 upgrade £126.65v20 (aka 13) upgrade £107.10v21 upgrade £139.30Total = £573.05DXO: PL4 upgrade £49.99PL3 upgrade £34.99PL2 upgrade £54.99PL1 upgrade (new name for Optics Pro) £55.00VP3 upgrade £19.00Optics Pro 11 upgrade £55.00FP5 upgrade £29.00VP purchase £19I do think that C1 performs faster on many operations, yes. Another way to look at it is PL is massively cheaper than C1P if you don't have FP and VP and probably cheaper with them. But without VP you can’t do even the most basic perspective distortion corrections. Some tools work better in C1, others work better in Dx O PL (noise reduction, Clear View vs Dehaze). A bit like C1 has versions not supporting many of the cameras it does support, but for a lower cost. Currently DXO PL5 is £149.99 and C1P €349 (about £295), or the Fuji-only one €229 (£194), so full DXO is cheaper than Fuji-only C1. Upgrades are massively cheaper, last year DXO PL4 (from 3) was £49.99 and C1P 21 (from 20) was £139.30 (both with the best discounts I could get). Only corrections for distortion are lens distortions. I'm glad to have the choice which to use depending on need! For me the best solution may be to quick batch convert all ARWs to DNG with Adobe free DNG converter, then start the batch processing in pureraw while I edit the DNGs in C1. C1 has Style packs which are similar in concept to FP but insanely expensive. Then replace all the DNGs with the De Noised ones and export when I’m done. someone confirm if there is a lens -camera profile mismatch. (I wouldn't suggest either, but have FP for historical reasons, plus FP4-I’ve been sony only for a while (if you couldn’t tell. Previously, if there was no exact profile then it used to show as such. Now, My Voigtlander 58 1.4 has the profile of Nikon 58 1.4 G and the new Nikkor Z 40mm f2 has the profile of Voigtlander 40mm f2 ultron. I've seen in Dx O that sometimes it selects the wrong lens profiles for my lenses too. When I was shooting with my Canon M5 Sigma 100-400mm, Dx O would sometimes ask me to download lens profiles for the Canon 100-400mm for instance... Yeah with v4 there was some weirdness with multiple options for lens profiles. First time I processed images with my A1 and sigma 24-70/2.8 it asked me to download a lens profile and I had the option of choosing the sigma or the Sony 24-70GM. I don’t know how it decides but it seems it’s focusing on focal length ranges rather than Exif lens strings. Since has been a bug since PL4 (and probably before). If it doesn't recognise the lens or it isn't supported, it just tries to use something else. Which rather makes a mockery of the perfect correction boasts. The further problem is that you can't choose an alternative that would [email protected] Holman Indeed, and it's all the more weird since it fails to recognize the actual lens used which is a supported lens. The new Dx O PL5 also doesn't recognize my adapted Sigma 100-400mm on my Fuji cameras even though both are [email protected] I was using the Canon M5 Sigma 100-400mm. It was being applied to most images shot with that combo. But sometimes, for some images, it would ask me to download a different profile, or a lens that was not used, that I don't even have, such as the Canon 100-400mm. I think it happens more with JPEG images than with raw files. No, it's not possible to use any lens correction profile of your choice. No matter how close it is to the required lens camera combination. Nothing's changed in PL5 and I spent a while with DXO support trying to do this with PL4. The only solution is to edit the exif lens data, which is a right pain for lots of images and may mess up other program's handling of the files. I wasn't suggesting you can use any lens profile, but one that meets the main criteria will work. I was processing an image for someone else where it was asking to download a lens profile that was clearly wrong (from what I knew of their lens, which wasn't every extra character group in the name, but enough). I then downloaded what I believed to be the correct one and it then used that one instead of the one it had wanted to download. (The EXIF didn't have the full lens name.)Edit - that's with PL4. It picked one that it thought matched the lens, but the EXIF didn't have enough info to pick an exact lens, plus it picked Canon and I knew it was Sigma. I told it not to download that and went and looked at what lens modules it had for their camera and downloaded the best match to what I knew of the lens. It then added the mark on the icon to say it had a profile for the lens and says it's using that module. The camera was a 6D mk III forget which exact Canon module it chose, maybe a 70-200 2x? The EXIF, unhandily, says this (per exiftool): Lens Type : Canon EF 100-400mm f/4.5-5.6L IS USM or Sigma Lens Max Focal Length : 400 mm Min Focal Length : 140 mm Max Aperture : 5.7Min Aperture : 45My friend said:"Sigma 70-200mm, f/2.8, Sigma APO Teleconverter 2x EX DG"The lens module I picked was the"Sigma 70-200mm F2.8 DG OS HSM S with TC-2001"Which is probably correct, and worked great! My first impressions are: good output, performance appears to degrade when adding local adjustments. The UI begins to stutter when trying to add several local adjustment areas. I can't yet determine if this performance issue happens with my Canon files as much as with my Fuji files. Dx O Clear View Plus works great and DEEP Prime works quite well too. I can lift fog better in Dx O with Clear View Plus, than in C1 with Dehaze. You can export as DNG and Capture One Fuji can then open the file for further editing. My first impression is that it works well but I will want to do more comparisons with some images that have proven a challenge for some other raw editors in the past. However if you have some good images yourself for testing these issues then you can download Dx O5 and trial it for a month. :-)It's a very complicated question, as there are so many aspects of demosaicing X-Trans data. I find Silkypix is best for handling out-of-focus noise, C1 is generally good and Lightroom is fine most of the time. Iridient Transformer plus Lightroom did great for detail but the OOF noise suffered too much for me. The Fuji compatibility is nice and the colours are good. Yes, my current GPU isn't up to spec which is probably the reason I see no improvement. However, I have ordered a "MSI Ge Force GTX 1660 Ti 6 GB VENTUS XS OC", so will find out tomorrow. For other Cameras too, what I notice is that Clear view plus is not heavy at 50%. Voightlander 58mm 1.4 gets the profile of Nikon 58 1.4 GDx O PL4 is my standard RAW processing and editing software. But being a Nikon and former Pentax shooter using a non M1 Mac, I am completely missing out what is new. And yes, I tried the free trial and will continue to do so. But up to now I can't detect anything that would justify an upgrade. :-(For Fuji shooters/M1 users it may be different, though. General speedups of Deep Prime, also for non-M1 computers? (It specifically says Windows but I expect it to apply to Intel based Macs as well? I do agree though, that if you do not use either Fuji or an M1 Mac then this upgrade probably doesn't sound as exciting. (But for me as Fuji user it's an upgrade I've been waiting for! My only real complaint now that they support Fuji cameras, is that their "Local Adjustments" support so few tools compared to, say, Capture One. I have occasionally felt limited by that in the past, and layers in C1 are much more powerful. However Dx O has a number of advantages over C1 in other [email protected] Local Adjustments in Dx O are very limited - some sliders for colour, contrast, exposure, clearview. In C1 masks I have full control over nearly every tool in the toolbox, such as curves and levels, full colour editing tools, sharpening and NR, and even control over purple-fringing reduction can be applied to just a mask. What also helps C1 is that instead of having the floating pop-up toolbox for local adjustments, you use the same tool panels. In Dx O5 I can now adjust "sensitivity" of masks for luma and chroma, but I'm not sure yet what that means or how it works. I didn't yet see how exactly it impacts my masks. In C1 I can adjust luma range fully, with feathering, both and the low and the high ends of luma range and I can instantly see how it impacts the masked areas. They each have their own strength and I bought the upgrade to Dx O5 as soon as I could. Also, I've always found it very difficult to draw a precise mask in Dx O and there doesn't seem to be a way to get nice feathered edges to your mask? In C1 I seem to have much better tools available to actually draw a mask with brushes, with nice feathered edges, so that transitions are nice and fluid. In Dx O I can get that only with a collection of control-points or a gradient, which is not always what I want. And that popup toolbox for local adjustments in Dx O just gets in my way too [email protected] Local adjustments in C1 are really in another league compared to DXO although they have made significant improvements recently having adopted a layer based UI. In C1 you don't have to go into a separate "Local Adjustment" mode. You can apply a "filled" layer so that adjustments can be applied globally and then partially erased, opacity varied etc. Masks can be cleared, inverted, copied, refined and feathered in a similar way to Photoshop. A luma range can be applied to any existing mask and again feathered or refined. You can generate masks from the Advanced colour editor and these can be added to, erased, feathered refined as normal. The UI is far superior in that you don't get a new UI you simply use the existing menu controls and virtually all controls are available to use including levels and curves which include a Luma curve that allows contrast to be changed without impacting colour. Then there is the "Magic Brush" which is like a control point but better:-)One of the main things I really dislike about PL is the U-Point controls. C1 has actual layers and is almost a non-destructive photo editor. Far too pricey for me, though, and too complicated overall. These days I just use PL for raw conversion and do all my edits in Affinity Photo, but I put a lot of work into a few pics rather than a little work into a lot of pics. I do just make some adjustments in quick-and-dirty things in PL, but no local adjustments at [email protected] Yorke Running Dx O PL5 and C1 21 side by side, I do not see how they are similar at all. Yes -- Dx O PL has an ability to create multiple masks, but the tools for doing so are rather limited and the UI begins to stutter when applying some control points or control lines. Brush mask tools are very frustrating to use for me. There appears to be no real feathering on brush masks. The number of tools available for the local adjustments are limited -- for instance, I can not use the full HSL / colour editor tools on local adjustments. Luma and Chroma controls are very rudimentary, allowing only a "sensitivity" slider to be adjusted. Also, it appears they only work on control points and control lines. Will that then work on the dark regions, or the light regions? Comparing that to luma ranges in C1, brush masks in C1, auto brush, etc, plus the ability in C1 to use nearly all tools, copy and invert masks etc -- sorry, but no comparison, in my opinion. For me, Local Adjustments is the one area in Dx O Photo Lab that still needs the most work and I felt limited by what I could do with them even before I started to seriously look at other editors. Now don't get me wrong -- I may come of as negative towards Dx O Photo Labs here but I do love this tool still and I'm very excited that the new release now finally supports Fuji cameras. There are things it does better than C1, other things that just work easier than in C1, and I think they can be used together pretty well. Yes, at the moment they still use the on screen controls but the local adjustments have a corresponding standard menu layer with opacity and the luma and colour selection controls for the local adjustment. You can name the layer, copy the mask to another layer, invert it etc. If these on-screen controls could at least be dragged away without dragging along the whole layer it wouldn't be so bad! i tried on a 6400iso xe4 raw, to my eye, the output really shine as good as any other bayer sensors cam and can be somewhat better? more reasons for me to stay at APS-C ;)talk about performance, on my gaming laptop, i spot minor improvement, cause the previous one already fast enough for [email protected] Det I don't know if Pure Raw fully supports X-Trans but the initial release at least supported the X-T2 (and if you changed the RAF file manually to pretend your files from another Fuji camera were from an X-T2 it would happily process those too). Still limited in capability, but at least not covering the actual layer to which I'm trying to apply changes. But I will get RNI for C1 - it would be nice to have some IR in Dx O as well. But okay, I have not looked at the Dx O IR results in detail support? It was not announced at the time, it was discovered by accident by someone, and so I believe it wasn't meant to have that support enabled. Best move would be to just use the actual sliders in the sidebar UI. I have downloaded the demo some time ago, but the cost has put me off. But it did prove that they were already working on [email protected]_A I doubt it. It allows you to batch-convert RAF files to DNG but doesn't give you control over each individual image. With PL5 you have the full range of editing tools that Dx O PL supports for each image, with control over all parameters, and allowing local adjustments. DXO Photolab tries to make it seem like they aren't the equivalent of a subscription service, but they will not release corrections to new cameras and lenses unless you always buy the now yearly software. You can use PL4 with your current camera gear as long as you want. New cameras are not free, so why should new software tools be free? Software development costs [email protected] Cylon- yes, if you buy newly released gear (which you shouldn't be doing yearly right? ) Dxo will charge you because as pointed out supporting new cameras costs money. Note that during the year they do update the support 2-3 times for new cameras. You don't need to buy a new camera every year, that's on. Non Fuji because this is the first time they are supporting Fuji x-trans at all. you :-)Well you certainly didn't use it in your last statement but in that case, then not the big deal you seem to make it out to be. Compare with Adobe where you do have a mandatory subscription, new cameras or not. DXO release lens/camera modules throughout the year. You have to be unlucky if you are always buying new gear every year and those purchases correspond to times when they run over the major release time frame. The number of people who meet that criteria must be incredibly small and certainly would have no significant impact on DXO sales for them to "bother" to deliberately hold back support. Then why don't you simply use a film camera, if you like the look so much? BTW, what makes filmpack look so great, in your opinion? How does filmpack look so much better than a shot that looks exactly like it was originally taken? According to your logic, just use your eyes, and watch the world in its original look. (Not that our eyes and visual system in the brain are even remotely related to "original" or "natural" look)" found that an old version of filmpack which i still use a great way to quickly make good looking black and white pictures that would take a lot of fiddling in photoshop otherwise"I did a head to head comparison of Film Pack and Nik Silver Efex. Film Pack was relatively terrible for black and white. If you like BW photography, you owe it to yourself to try Silver Efex. On the other hand, that's more software to buy and manage and a more complex workflow. I'd like to see the same quality of black and white conversion right inside Photo Lab and included in Film Pack. Quality is not an issue of the film simulations per se but the way colour bayer is converted to greyscale. It's something you learn in the first years of Computer Science studies ! Sadly, working with soft or hard links can confuse commercial backup sync software, or worse blow it up by making it follow links infinitely without ever finishing the job (and creating multiple copies of your files in the process that you end up paying for). Keep in mind that if you buy into Dx O you have to be buy all of Photo Lab, Film Pack and View Point and all in Elite editions. Unfortunately once you are in at Dx O, keep in mind the OS -1 policy which Dx O have instituted in the last couple of years. On Windows that means Windows 10.1 and 11 and no Windows 7 or 8. So tedious I had to write few non trival scripts to put RAW (and already existing JPGs) all flat, then process with PL, then putting RAWs in there original folders, and the JPGs in the samle structure, but from another base folder ... It would be more flexible if software was less opinionated about how we want to organize our files and just accept that people have their own [email protected] Rick Is Photo Lab really "opinionated about how we want to organize our files"? For good quality black and white, you'll also need Nik Silver Efex. What that means is that only the current OS minus one revision is supported. So if you want to use any Dx O tools or keep them current, Dx O basically force immediate OS upgrades on their customers. Then, I got back the U-Points that where available in Nikon Capture NX 2. The feature I miss the most : folder structure processing. As far as I can tell you can put photos anywhere and then open them from there from Photo Lab with no limitations. And you can always exclude your Dx O flat folder from your backup sets if your backup software doesn't support data deduplication. At one point or another, I have to convert my RAWs to JPGs. Some kind of "show all files in all subfolders recursively" might be useful, but then again maybe others want only N steps deep recursion, or only from subfolders matching some particular name pattern, and suddenly it's not an easy a feature as it might seem at first. May more than only once when I spot a mistake or something. The main problem is that PL only can do that from a flat folder to another flat folder. Willing to install git for Windows to code and run those bash scripts from command line ? Using links, whatever the type, would produce a flat folder of JPGs. Been using Dx O 4.3 more and more lately, and Deep Prime is fantastic and makes a mockery of Adobe's lame NR efforts. I would have to sort and put JPGs back in an identical folder structure MANUALLY ! Also, I never ever had any trouble asking Capture NX 2 to stop processing after level N recursion. I was wondering why there had been no updates for a long time, and voila v5 comes out. Better hope you are on Windows 10 or later or Mac OS Catalina or later. OS -1 means many photographers can't even update Photo Lab if they want to. Well not without an immediate major OS upgrade or even a new computer. On my M1 Mac my m43rds 20 MP raws went from 17-21 secs to 7-10 second exports. Basically the guys at Dxo earned their French wine this year :-) I want to see Photo Lab converted to Apple silicon and hopefully the Ricoh GRIIIx gets support soon. Finally looks like they did other image quality improvements - like resizing down on bicubic sharper keeps the sharp with less "gritiness."Yeah, I’m being stubborn at the moment. And the app is still running emulated though clearly the GPU calls from Metal are the reason this works so nice. To both DXO and Topaz, I’m saying “No M1; none of my money” :-). (so on the new M1Pro and M1Max it should be significantly faster). Adobe did of course make the conversion albeit shockingly inefficient as always. Edit: Don’t get me started on Adobe and my memory pressure graph. Entire virtual OSs (sometimes two of them, including a Windows 11) fare better. I recently upgraded a 2060 based laptop (last years g14 which I passed to my daughter) to a g15 3070 based laptop and couldn’t believe the difference. Then I looked into the details and the 3070 has 2.5x more tensor cores than the 2060. Yeah, on my M1 Mac mini, JPEG exports from heavily adjusted high-ISO 42MP a7RIII RAWs with Deep PRIME applied are THREE TIMES FASTER than with PL4, averaging 10 seconds per image. That turns my typical event job batch export of about 500 images from an overnight marathon to a dinnertime sprint. Also, I notice that the app just feels more responsive. Previously, I waited until I'd made all adjustments before batch applying Deep PRIME as the last step, in order to speed up transitions from one image to the next while making adjustments. Now, my adjustment work is plenty perky even with Deep PRIME applied, and this helps because NR removes the purple/magenta cast from the shadows on my ISO 25,600 images, greatly facilitating appropriate WB adjustment. I was excited when Deep PRIME debuted, as it eked out another usable stop of ISO from my existing gear. But, the speed improvements in PL5 just blow me away - this is going to save me days and days of time over the course of the next year. Deep PRIME is never previewed in the viewer so no need to wait to change the Deep PRIME setting. It doesn’t affect the editor unless you have the details tab showing where it makes the little Deep PRIME patch. It only affects the output when you [email protected] the funny thin is Dxo is still running as a Rosseta 2 app- though I don't expect a bit jump at all exporting with DXO Prime as the bottleneck clearly becomes the GPU, as they are already doing metal calls. But the overall app when editing masks, etc should still improve by like 15-30% faster if recompiled (my guesstimate). For anyone wondering: Dx O leverages Apple/M1 specific algorithms (e.g. It is NOT yet re-written entirely for M1 like some other applications. But this is not a must from my point of view, they will get there. As you point out it runs in x86 emulated Rosseta 2. Raist3d -I think you misunderstand how Rosetta2 works. Do you know they are leveraging the M1 Neural Engine for sure? AFAIK they don't use the neural engine but metal. I'm on Linux having to run these programs in VMware :-)C1 works surprisingly well. Unlike the original Rosetta, it does not translate code on-the-fly. If they re-wrote it for Core ML maybe the neural engine is used behind the back of the [email protected] No M1, no money? What it does is convert and save the code the first time you open an app. Subsequent launches are native code, albeit code that hasn't been optimized for Apple Silicon. PL5 has clearly been optimized for M1 silicon in many effective ways. As evidence of this, note that the speed increase on M1 is roughly double what it is on Wintel. It compiles as you mention on first launch but it's still hardly direct M1 code. PL5 has *NOT* been optimized for M1, otherwise it would have been recompiled. The speed increase could be perhaps use of more Core ML frameworks, in which case it would take advantage of whatever optimizations Apple has done for machine leaning neural networks. We need to see how much of an improvement is on Mac-tel. Clearly, PL5 is performing much better on M1 silicon, and the performance gain is greater than on Intel. And, how do you know it has not been recompiled or that Rosetta2 is recompiling it? In case anyone was wondering, Photo Lab works pretty well in VMware on Linux. It's surprisingly fast, easily on par with Capture One Pro. it is completely usable although of course not native performance by a long [email protected] - What do you mean I mean by optimized? you made the claim" PL5 has clearly been optimized for M1 silicon in many effective ways."No, that's not clear at all. You an optimize your algorithms in software and that will pan out and affect both Intel and M1 executions."Clearly, PL5 is performing much better on M1 silicon, and the performance gain is greater than on Intel. "Do we have a baseline of the performance increase on Intel-Mac? The only thing I can think of is if they optimized the metal calls judiciously to know what works better on M1's GPU because the software is still compiled as an Intel binary." And, how do you know it has not been recompiled or that Rosetta2 is recompiling it? You can open Activity Monitor while Dxo is running, add the "kind" column and see it's an Intel app, not Apple silicon app. This necessarily means Rosseta 2 is running it and is not native Apple silicon. The only thing that would be an "optimization" would be for Dxo to use, as I already said, Apple's machine learning library. This library would use more of Apple Silicon more effectively. But this is more of a side-benefit than Dxo optimizing specifically for M1. For the record I have asked Dxo support when they expect to have an M1 version and originally they told me they don't have enough resources to convert that now, and need to see the need over time. Well they better get to it because Apple Silicon is the future and now transitioning present reality of Mac :-)But hey, Fuji Xtrans now is supported. That really means anything is possible now :-) Advanced shows a new accelerator option not there before "Apple Neural Engine." If this doesn't show up when running on Mac Intel, then yes, this would be a specific M1 optimization- though doesn't seem right you can "optimize for M1" while running on Rosetta. My guess here is, this may show up as a framework for Intel but M1 vastly accelerates this frame work over Intel. Sort of how DXO PL4 Jumped in perfomance simply because it was already doing Metal GPU calls from my Intel to the M1 (I don't have that Intel machine anymore so can't compare). Also this *may* mean the GPU is more free while exporting which is remarkable. On my windows machine the CPU is at 40% and the GPU is at 60% to get 7.5s processing per 50MP image. I think it’s just not fully registering on the usage chart. I remember having a discussion months ago here with a couple of Wintel guys criticizing the "apparently speed" of M1 and I mentioned that SOC has a built in neural engine *separate* from GPU, and would be interesting to see the likes of DXo use it. I just did a GPU trace with Apple's instruments, and yup, during export with Apple Neural Engine the GPU is mostly idling doing nothing. Something else must be [email protected] - in the case of M1, there is a separate hardware circuit - the ANE (Apple Neural Engine) to accelerate machine learning models. This is why the GPU use drops to close to zero during exports now. This is quite amazing- this means at least on M1, both CPU and GPU are free to do a lot of other things while the export with DXo Prime is going on. I would expect on Windows the CPU to drop quite a bit if using the GPU. As for GPU usage, maybe the issue could be ram (how much ram you have? I would think if you don't have enough ram that's the bottleneck. The Great Joy 60mm T2.9 offers full-frame users an affordable option for 1.33x anamorphic shooting, while the 1.35x adapter can squeeze that to 1.8x, or turn your regular spherical lenses anamorphic for an even more budget-friendly solution. The DJI Action 2 is an innovative action camera that captures great video and supports with a variety of magnetic accessories. Packing this much technology into such a tiny form factor is an impressive feat, but it comes at a cost. Exposure Software's latest release, Exposure X7, offers impressive editing performance and great image quality along with a solid feature set that gives Adobe Lightroom a run for its money (but without the monthly subscription). The new Dell XPS 17 (9710) is a solid laptop with a sleek design language, great build quality, and a color-accurate 17-inch display. But we're not sure Dell has done enough to differentiate it from its little brother, the XPS 15. These capable cameras should be solid and well-built, have both speed and focus for capturing fast action and offer professional-level image quality. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing around $2000 and recommended the best. Most modern cameras will shoot video to one degree or another, but these are the ones we’d look at if you plan to shoot some video alongside your photos. We’ve chosen cameras that can take great photos and make it easy to get great looking video, rather than being the ones you’d choose as a committed videographer. Although a lot of people only upload images to Instagram from their smartphones, the app is much more than just a mobile photography platform. In this guide we've chosen a selection of cameras that make it easy to shoot compelling lifestyle images, ideal for sharing on social media. Whether you’re just sharing clips with friends or you’re launching an online on-camera career, vlogging matters. We looked at cameras with selfie-friendly screens, wide-angle lenses, microphone inputs and great video quality, and selected the best. We've been continuing to shoot with Nikon's compact, fast-aperture 40mm F2, and as autumn turns to winter here in the Pacific Northwest, we've updated our initial sample gallery with several new images, for your viewing pleasure. Based on the 15-second teaser video, the prototype pop-out module will offer a 50mm equivalent F2.4 lens in front of a 1/1.56-inch sensor. The module also appears to be water-resistant and at least somewhat drop-proof. Raspberry Pi projects can be a fun, inexpensive way to create your own camera. A new camera module for Raspberry Pi includes a 16MP image sensor and offers autofocus. We recently took delivery of a pre-production sample of the Nikon Z9, and we spent our time with it shooting as much as possible. We've just updated our previously-published gallery of samples with more than 50 new images taken in and around the Pacific Northwest. Two weeks after announcing it was cancelling orders for a number of its full-frame and APS-C mirrorless camera systems, Sony Japan has announced it's suspending orders for its ZV-E10 compact camera system. Researchers at Princeton University and the University of Washington have developed a micro camera that is about the size of a coarse grain of salt. Image quality surpasses previous micro camera designs due to the team combining metasurface technology and machine learning algorithms. The Wooden Model Design store in Vietnam crafts incredibly intricate cameras constructed of wood. In addition to looking nearly identical to their metal counterparts, the wooden cameras also have interchangeable wooden lenses. Chris and Jordan spent a merry old evening listing the best and worst camera and photo gear they've reviewed this year. Now that the consequences of their revelry are kicking-in, they've prepared a more sober reflection on their assessments. It's easy to capture hyperlapse videos with the DJI Air 2S, but there's still a bit of planning involved. In this article, we explain the four hyperlapse modes available on the Air 2S and walk you through everything you need to know to shoot your first hyperlapse sequence. The Great Joy 60mm T2.9 offers full-frame users an affordable option for 1.33x anamorphic shooting, while the 1.35x adapter can squeeze that to 1.8x, or turn your regular spherical lenses anamorphic for an even more budget-friendly solution. It's that time of the year when Chris and Jordan look back on the year's best and worst releases of photo and video gear. As has become traditional, they've devised a drinking game to help ensure that their recollection ends up as hazy as the output of the worst lens... During its opening-night keynote presentation at its annual Snapdragon Summit, Qualcomm laid out three specific advantages of co-developing a lab with Sony Semiconductor Solutions to push imaging technology further.2021 was a bad year for lots of things, but a very good year for new lenses. Within that category, some of the highest-performing optics of the year were zooms. Click through for your chance to vote on which zoom lenses were the best.2021 has been another disrupted year, with global supply chain problems still a major factor in the availability of all consumer goods, including new camera equipment. But plenty of great cameras were released, and now it's your turn to vote for your favorites! Gordon Laing is back again, this time to take an in-depth look at the Power Shot Pro1, a third-generation bridge camera from Canon that featured a familiar red ring that would never again show up on a fixed-lens Canon camera. There's an old adage about standards: the great thing about them is there are so many to choose from. That pretty accurately describes the state of USB power in 2021. In this video, Chris explains everything you need to know about USB power and how to use it. Ben Krasnow, from the You Tube channel Applied Science, has used a homemade X-ray camera to capture a timelapse that shows what goes on inside a zoom camera lens as it goes through its focal length range. Following the attack on Pearl Harbor, an executive order resulted in the imprisonment of 120,000 Japanese Americans, most of whom were American citizens. Some prisoners remain unidentified in the Library of Congress's photos, and it wants the public's help. All content, design, and layout are Copyright © 1998 - 2021 Digital Photography Review All Rights Reserved. Reproduction in whole or part in any form or medium without specific written permission is prohibited.Dx O Photo Lab Elite 2.3.1 Build 24039 , Dx O View Point 3.1.15 Build 285, Dx O Optics Pro 11.4.2 Build 12373 Elite, Dx O Film Pack Elite 5.5.26 Build 602 , Dx O Photo Lab 2 ELITE Edition 2.3.2.44 MAC, Dx O Photo Lab 3.1.0 Build 4301 Elite patch Dx O Photo Lab 3 ELITE Edition 3.1.2.42 MAC cracked (FULL)Dx O Film Pack 5 ELITE Edition 5.5.26 (602) MAC cracked (FULL), Dx O Film Pack Elite 5.5.26 Build 602 crack (FULL), Dx O Film Pack 5.5.25 Build 601 Elite crack (FULL), Dx O Film Pack Elite 5.5.22 Build 592 crack (FULL), Dx O Film Pack Elite 5.5.21 Build 591 crack (FULL), Dx O Film Pack Elite 5.5.20 Build 589 crack (FULL), Dx O Film Pack Elite 5.5.19 Build 587 crack (FULL), Dx O Film Pack Elite 5.5.17 patch (FULL), Dx O Film Pack Elite 5.5.18 Build 582 crack (FULL)In architectural or urban photography, depending on the position of the photographer with respect to the scene, vertical and horizontal lines can lose their parallelism. Dx O View Point lets you easily fix even the most complex perspective problems. Place your anchor points along the lines that you want to fix. Apply your correction: unnatural-looking façades instantly regain their initial appearance. Dx O View Point automatically crops the image while maximizing the visible field. When a photo contains two perspective problems (horizontal and vertical), you can place the four anchor points of the Rectangle tool to immediately reestablish a frontal view of the object — indispensable when shooting a painting! With 8-point mode, you can handle even the most complex perspectives. Being able to independently place horizontal and vertical guidelines lets you correct the perspective for multiple planes in the same image with unequaled precision. The shapes of the subjects in certain kinds of photos taken with a wide-angle lens tend to appear deformed. Particularly along the edges of the image, bodies and faces are stretched and enlarged — a phenomenon called “volume deformation.”Open your image, identify the type of deformation, and apply the correction: Dx O View Point restores the natural proportions of deformed objects in just one click. This exclusive Dx O Labs feature, particularly useful for portrait and group photos, applies corrections that are perfectly adapted to the equipment you use. Dx O View Point offers a sophisticated tool for correcting different kinds of lens distortions. Barrel, pincushion, or fisheye — master every untoward curve! After you’ve fixed the distortion, you can then easily use perspective correction tools. Developed in the lab following an exclusive calibration procedure, Dx O Optics Modules contain extensive information about the characteristics of each camera and lens. This unique database — which today comprises nearly 15,000 Optics Modules — is continually being augmented. 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