Hi Greg,
thanks for jumping in. – Everyhing was tested on a sRGB monitor (Eizo CG2730, here specifically set up to calibrated sRGB colour space to be comparable).
Going through those screenshots …
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The pic (screenshot 3) is out-of-gamut, but the sRGB screen can not show the full colour range.
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In screenshot 4 the Monitor out- of-gamut warning (blue overlay) indicates the area with affected colours, but it does not say by how much they are ‘off’. It can be from just clipping to really ‘off’, while the sRGB monitor limits what we see. In fact, the saturated blueish green is affected.
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Screenshot 5 shows the same pic with some green reduced (until the Monitor out-of-gamut warning went off). Comparing 3 and 5 shows (some of) the difference, but best is to try out oneself. The blue overlay from 4 hinders to compare instantly.
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“The grass is greener” example comes with “Do I need this extra ‘colour information’?”
For sure, I don’t. The grass is green (enough) and just being the ‘background’, but saturated it may look nicer. – Just to remember the ‘hype’, when Fuji introduced their Velvia film emulsion. -
Screenshot 6 shows the softproof to sRGB IEC61996-2.1 with Destination gamut warning (red overlay), which again indicates the area with affected colours – similar to #4 …
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Screenshot 7 shows the pic with the same green reduced by the very same values (now causing the Destination out-of-gamut warning to go off) – similar to 5 …
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The softproof to sRGB (6 and 7) triggers to apply DxO’s ‘automatic’ rendering → PSCA.
Of course it is the same rendering as with the equivalent export – otherwise it wouldn’t be a “softproof”. -
The screenshots 8 and 9 repeat the same thing, but with softproof to the Destination paper profile.
Toggling between them shows the different coverage between the sRGB monitor colour range and the paper profile – approximately indicated in 2.
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But different to before, we have a ‘manual’ rendering application, where I chose the RI relative colorimetric.
Toggling between perceptual and relative colorimetric clearly showed a difference.
general notes
With the use of DxO’s Wide Gamut mode, we get a different result from out-of-gamut pics than before in PL5 (or now in PL6 Classic-Legacy).
The ‘need’ to put on softproof or not depends on the colour gamut of the source file (how far out-of-gamut my pic is compared to the Destination → shown here with softproof to sRGB or a paper profile), … which means, also on a sRGB monitor it can be necessary (it is advised) to put on softproof to ensure WYSIWYG, simulating the export output.
The colour gamut of my monitor with the applied display profile determines, what I can see from a given file. That is, on a wide gamut monitor I can see a wider colour range, but have to softproof just like that to see & judge (correct) how the file will come out in a smaller colour space. – And the same thing goes for printing …
Wolfgang
→ see further down