PhotoLab would benefit from having the same manual controls as FilmPack does.
People that want emulations will still buy FilmPack - it is a lot of work to figure out the correct settings manually - these folks are buying convenience - i.e. FilmPack sales would not be cannibalized.
Note:I am using FilmPack 3 - Photoshop RAW has the same feature set in terms of manual settings… so I wouldn’t buy Filmpack 5 just for this capability.
If You think the above “request” is a good idea - but either do not have a vote to give, or do not want to use up a vote - then a “like” would show support for the feature request (in the 2nd post by the OP - in this case me ).
The “Channel Mixer” is the key… I do not know what v5 offers… but Photoshop is even more granular as to how to control image toning - especially B&W. Whatever - a channel mixer mode would be great in PhotoLab.
It’s quite possible that I am misunderstanding your request - but … if one has a license for FilmPack then its tools are merged into the PhotoLab palettes … as shown below for Channel Mixer for b&w (Windows version)
I do not want to buy FilmPack 5 - I am not needing convenient emulation presets… just want the control.
In the days of Optics Pro this was a more logical omission, but now we are using PhotoLab - where I would expect this type of control to exist in a top tier imaging software product. Right now I need to export to Photoshop for this feature set (or FilmPack3).
On the other hand I never have understood the lack of the “fine” contrast setting in Optics Pro - & now PhotoLab. Clearly this tool has always been a (valuable) fit with the other Contrast settings; but You have to buy Filmpack to get it which seems like a petty monetary ploy.
I am definitely not expecting anything to be done with FP3 - just giving a reference to what I was using in my example.
It really does not make a difference, whether you pay x for A and y for B, or x+y for A+B. If DxO would offer the full package only, they would definitely earn less, because the entry barrier would be increased, without giving an advantage for sales. Not everyone wants to pay 290€ at once for software. The DLC/lootbox approach does work not only in games.
I find the current approach optimal. I have all parts PL+FP5+VP bought once, everything in elite. For VP I do not need any new versions, as long as the current capabilities remain in PL. Whether I update FP depends highly on, whether large creative capabilities are added, like NIK on RAW. The only thing I plan to update is PL. The update price for PL is one of the cheapest on the market for a good RAW converter.
I was hesitating to buy FP5 because i don’t use much of the emulations it offers. And if i want i can use the NIKcollections version.(free version0
But there is more added in PL controltools when you plugin FP5:
So even when i don’t use most of the time those “color theme’s” and other artistic film emulations it still brings some use in the application for general processing.
So the power of viewpoint is already known ,but this Filmpack5 which has grabed some candy out of the of NIKtools and mixed those with raw tone controls. (I don’t say DxO actually did that but i mean some tools in FP5 are more PL base tools instead of emulation filters.)
So i agree, bring those base things inside PL(elite) and make FilmPack6 more a raw link towards NIKcollection-DxOv2. (murch those two together.)
NiK standalone for photoshop/LR and if you buy FilmPack6 it enable you to use NIKcollection as a real plugin embedded in PL like viewpoint and Filmpack does now.
(i bought the Suite Elite after close comparison so i don’t benefit right now if they actual transfer those sliderstools into PL)
These are also FP5 elite features:
Fine Contrast controls should be in the core DxO Photo Lab definitely. It’s crazy that those of us who don’t use film emulations have to buy Film Pack Elite to get Fine Contrast control. For those reading who don’t have Film Pack Elite and would like some indirect access to those Fine Contrast settings, it looks to me like DxO Clearview Plus uses Fine Contrast for much of its effect. So at very low settings (think 6 to 15) Clearview Plus might give us a similar effect. At least it did so in an experiment of mine with a tricky high ISO interior image.
FilmPack adds a lot more than just the fine contrast control and specific film emulations. It adds a number of other useful tools not available in the PL Elite version including Highlight, Midtone and Shadow contrast, B&W Channel Mixer, Creative Vignetting, Blur, Frames,Texture, Light Leak, Grain, Filters, and Split Toning. To be sure Photolab Elite plus all the DXO add-ins can get quite pricey even when purchased at the periodically discounted prices. However, having purchased Photolab Elite, FilmPack 5, Viewpoint, and DXO’s version of the NIK collection, I can honestly say I have no regrets and if faced with the same choice today I would purchase it all again.
Mark, thanks for sharing your experience with the Film Pack. You’re a good salesman.
I’d characterise Highlight, Midtone and Shadow contrast as part of the Fine Contrast which should be in Photo Lab ($150 to $200 tool depending on the discount) out of the box. A basic grain tool should be in Photo Lab as well but I could forgive its absence for the number of times I use grain.
Those are the only tools I’d use in film pack (I don’t do split toning, I don’t like funny frames, I don’t need film emulation, basic vignetting is enough for me). Film Pack is being forced on me for micro-contrast and I don’t like paying €100 more for a single feature - full control of contrast - which should be included in the core of Photo Lab.
Other packages have many of these tools built in and you would have these features whether or not you wanted them or needed them. And some of those programs, like ON1, are much cheaper too, but… there is a big difference between quantity and quality so I’ll stick with DXO. if all post processing programs were created equally then DXO Photolab and Capture One Pro would be as inexpensive as ON1, Luminar, and Affinity.
I do a lot of black and white conversions so a tool like a channel mixer, as well as creative vignetting, is very important to me. It would be terrific if all the tools we need were included in the essential version, but they’re not. The Elite version itself is 25% more expensive just for the inclusion of PRIME, Clearview Plus and perhaps a couple of other things.
I think of the Photolab suite not as a bunch of separate applications but as a single integrated package with each part playing a critical role. I’m hoping that eventually the Nik collection will be as integrated into PhotoLab as FilmPack and Viewpoint. Some people only purchase part of the suite, I suppose for economic reasons, but by doing so they limit what they’re capable of achieving. It’s a choice.
Me too. but, if they do we have alot more double ways to do something. it shal become a difficult choise which part of the Suite to use for what.
I personaly hope they bring all “basic developmenttools” inside DPL elite and only keep the row Nik, viewpoint and DPL. The new DPL-suite V3. ( so all are implemented in the raw workspace.)
So “Filmpack artistic parts” like film emulations and creative stuff as frames is gonabe a part of “Nik-Filmpack”
It would be also still a great standalone sellingpoint for the not DPL users.
Maybe it’s a difficult task or bad idee but that’s how i would slimdown all those options they can provide now. A cluttered interface loaded with options which are at the end of someone’s workflow would be better to cluster together.