Messages

Very nicely done.  Thanks Danne.

kirk

Some recent examples, no need to apply any NR in post.  Shot with the 5DIII, build 63b2f145cb3b.  Processed with the cr2hdr executable for Mac embedded in the LR plug-in (command line).  DNGs processed in ACR and PS.

kirk

ACR v8.3 with Magic Lantern dual iso DNG.  Pardon the JPEG compression in the sky.  One exposure at ISO 100-1600.

Before (ACR defaults):



After:



ACR XML:

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<x:xmpmeta xmlns:x="adobe:ns:meta/" x:xmptk="Adobe XMP Core 5.5-c002 1.148022, 2012/07/15-18:06:45        ">
<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">
  <rdf:Description rdf:about=""
    xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/"
   crs:Version="8.3"
   crs:ProcessVersion="6.7"
   crs:WhiteBalance="As Shot"
   crs:AutoWhiteVersion="134348800"
   crs:AutoExposure="False"
   crs:AutoShadows="False"
   crs:AutoBrightness="False"
   crs:AutoContrast="False"
   crs:Saturation="0"
   crs:Sharpness="45"
   crs:LuminanceSmoothing="5"
   crs:ColorNoiseReduction="25"
   crs:ChromaticAberrationR="0"
   crs:ChromaticAberrationB="0"
   crs:VignetteAmount="0"
   crs:VignetteMidpoint="50"
   crs:ShadowTint="0"
   crs:RedHue="0"
   crs:RedSaturation="0"
   crs:GreenHue="0"
   crs:GreenSaturation="0"
   crs:BlueHue="0"
   crs:BlueSaturation="0"
   crs:Vibrance="0"
   crs:Defringe="0"
   crs:HueAdjustmentRed="0"
   crs:HueAdjustmentOrange="0"
   crs:HueAdjustmentYellow="0"
   crs:HueAdjustmentGreen="0"
   crs:HueAdjustmentAqua="0"
   crs:HueAdjustmentBlue="0"
   crs:HueAdjustmentPurple="0"
   crs:HueAdjustmentMagenta="0"
   crs:SaturationAdjustmentRed="0"
   crs:SaturationAdjustmentOrange="0"
   crs:SaturationAdjustmentYellow="0"
   crs:SaturationAdjustmentGreen="0"
   crs:SaturationAdjustmentAqua="0"
   crs:SaturationAdjustmentBlue="0"
   crs:SaturationAdjustmentPurple="0"
   crs:SaturationAdjustmentMagenta="0"
   crs:LuminanceAdjustmentRed="0"
   crs:LuminanceAdjustmentOrange="0"
   crs:LuminanceAdjustmentYellow="0"
   crs:LuminanceAdjustmentGreen="0"
   crs:LuminanceAdjustmentAqua="0"
   crs:LuminanceAdjustmentBlue="0"
   crs:LuminanceAdjustmentPurple="0"
   crs:LuminanceAdjustmentMagenta="0"
   crs:SplitToningShadowHue="0"
   crs:SplitToningShadowSaturation="0"
   crs:SplitToningHighlightHue="0"
   crs:SplitToningHighlightSaturation="0"
   crs:SplitToningBalance="0"
   crs:ParametricShadows="0"
   crs:ParametricDarks="0"
   crs:ParametricLights="0"
   crs:ParametricHighlights="0"
   crs:ParametricShadowSplit="25"
   crs:ParametricMidtoneSplit="50"
   crs:ParametricHighlightSplit="75"
   crs:SharpenRadius="+1.0"
   crs:SharpenDetail="67"
   crs:SharpenEdgeMasking="64"
   crs:PostCropVignetteAmount="0"
   crs:PostCropVignetteMidpoint="50"
   crs:PostCropVignetteFeather="50"
   crs:PostCropVignetteRoundness="0"
   crs:PostCropVignetteStyle="1"
   crs:PostCropVignetteHighlightContrast="0"
   crs:GrainAmount="0"
   crs:GrainSize="25"
   crs:GrainFrequency="50"
   crs:LuminanceNoiseReductionDetail="50"
   crs:ColorNoiseReductionDetail="50"
   crs:LuminanceNoiseReductionContrast="0"
   crs:ColorNoiseReductionSmoothness="71"
   crs:LensProfileEnable="1"
   crs:LensManualDistortionAmount="0"
   crs:PerspectiveVertical="0"
   crs:PerspectiveHorizontal="0"
   crs:PerspectiveRotate="0.0"
   crs:PerspectiveScale="100"
   crs:PerspectiveAspect="0"
   crs:PerspectiveUpright="0"
   crs:AutoLateralCA="0"
   crs:Exposure2012="+3.25"
   crs:Contrast2012="-13"
   crs:Highlights2012="-98"
   crs:Shadows2012="+68"
   crs:Whites2012="+27"
   crs:Blacks2012="+18"
   crs:Clarity2012="+31"
   crs:DefringePurpleAmount="0"
   crs:DefringePurpleHueLo="30"
   crs:DefringePurpleHueHi="70"
   crs:DefringeGreenAmount="0"
   crs:DefringeGreenHueLo="40"
   crs:DefringeGreenHueHi="60"
   crs:ConvertToGrayscale="False"
   crs:EnableToneCurve="True"
   crs:EnableSplitToning="True"
   crs:EnableColorAdjustments="True"
   crs:EnableDetail="True"
   crs:EnableLensCorrections="True"
   crs:EnableEffects="True"
   crs:EnableCalibration="True"
   crs:ToneCurveName2012="Linear"
   crs:CameraProfile="Fuji Velvia 100 - C"
   crs:CameraProfileDigest="24700B5C2F7DCA6E3C3614E98D27F55D"
   crs:LensProfileSetup="Custom"
   crs:LensProfileName="Adobe (Zeiss Distagon T* 2,8/15 ZE)"
   crs:LensProfileFilename="Canon (Zeiss Distagon T 15 f28 ZE) - RAW.lcp"
   crs:LensProfileDigest="6122CF970BEB6EB233856435A7BC72DD"
   crs:LensProfileDistortionScale="100"
   crs:LensProfileChromaticAberrationScale="100"
   crs:LensProfileVignettingScale="24"
   crs:HasSettings="True">
   <crs:ToneCurvePV2012>
    <rdf:Seq>
     <rdf:li>0, 0</rdf:li>
     <rdf:li>255, 255</rdf:li>
    </rdf:Seq>
   </crs:ToneCurvePV2012>
   <crs:ToneCurvePV2012Red>
    <rdf:Seq>
     <rdf:li>0, 0</rdf:li>
     <rdf:li>255, 255</rdf:li>
    </rdf:Seq>
   </crs:ToneCurvePV2012Red>
   <crs:ToneCurvePV2012Green>
    <rdf:Seq>
     <rdf:li>0, 0</rdf:li>
     <rdf:li>255, 255</rdf:li>
    </rdf:Seq>
   </crs:ToneCurvePV2012Green>
   <crs:ToneCurvePV2012Blue>
    <rdf:Seq>
     <rdf:li>0, 0</rdf:li>
     <rdf:li>255, 255</rdf:li>
    </rdf:Seq>
   </crs:ToneCurvePV2012Blue>
  </rdf:Description>
</rdf:RDF>
</x:xmpmeta>


Here is the image with a little massaging in PS:



and a slightly different take using RPP and PS (RPP has no noise reduction).



kirk

Thanks for the script - it's a nicely implemented, automated way to consolidate HDR workflow in PS.  Is there a way to use it so that it takes advantage of the PS CC HDR toning workflow that uses the Camera Raw interface?  Like passing it an XML sidecar in place of a HDR toning preset? 

Because that's just what you need - more people asking you for free shit.

Thanks for your efforts!

kirk

I've managed to spend a little bit of time trying to find a useable workflow for DNG Float -> 32bit TIFF as outlined above, using the dng_validate application.   Using the Mac version, I took a DNG Float file from LumaRiverHDR and ran it through dng_validate.  The image data is a merge of two non-dualIso (regular raw) images into a single DNG Float  - however, the same basic merging applies using the CeroNoice concept.

The output is the "-3" third stage file, a TIFF that has UniWB (all channel multipliers = 1):



I opened this image in Photoshop and used the Unified Color PS plug-in called 32Float to edit the 32bit TIFF.  Here is the default tone mapped image in the 32 Float interface:



What is really nice about 32 Float is its 32bit white balance tool.  In this test scene (shot a couple of years ago) I included a gray target - I click-white-balanced on it and got:



From 32 bit float I returned a 32bit image that I could then work on as usual in PS.  I found that other methods of trying to massage the 32bit UniWB TIFF left a lot of green artifact.  ACR accepts 32bit TIFFs but cannot handle the UniWB data - trying to WB the file is a disaster. 

Here is the final image, after some adjustments in PS:



This method permits me to use my "standard" 32bit workflow, with some minor modifications at the beginning of the process.  If one tried to convert a single, optimally exposed raw file of this scene, you could get the basic tonal range, but the shadows would be filled with noise that would ruin detail and tonal transitions in the shadows, especially under the table and in the jacket, for example.  Even the relatively uniform wall tones would be riddled with noise that would smear and disrupt the gradual tonal transition and falloff of the window light. 

Cool!

kirk

@kirkt also has some cool examples and in-depth analysis here: http://photography-on-the.net/forum/showthread.php?t=1333150

Hi A1ex, thanks for noticing.  Here is a comparison I did using the above image I posted earlier in this thread.  In the below post, I was comparing the dual ISO shot with a conventional raw taken at the same settings immediately after acquiring the dual ISO shot.  Not only is the visual annoyance of noise reduced, but the tonal and color fidelity in the deep shadows is maintained and permits more flexible post-production.

kirk

***

Here is another example, shooting a scene that would typically make me consider using an HDR approach.   This gives you an idea of the DR of the scene (about 13 stops) - the face is backlit and difficult to bring out without good data.  This rendering is hyper real, in that the interior light level was lower than is depicted here.  However, with good data, you can craft the image the way you want to!




Here is a composite of the raw and ML DNG in RPP.  Both files have been pushed 4 stops to expose the face in the shadow tones.  What a difference.



I posted a more detailed discussion about this comparison in the HDR section:

http://photography-on-the.net/forum/showthread.php?t=1333150

kirk

I've been experimenting with the dual ISO feature for my 5DII for a couple of weeks.  A huge thanks to A1ex and the gang for giving me the ability to do Zero Noise in my camera in a single exposure.  Unreal!

This exposure was rendered in Raw Photo Processor (RPP) - RPP has no noise reduction.  Tonal and contrast edits in Photoshop.  Remarkable image quality, especially considering the magic that is going on in the image acquisition and conversion to DNG. 

kirk

cr2hdr log:

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Input file     : _MG_0001.CR2
Canon EOS 5D Mark II detected
Full size      : 5792 x 3804
Active area    : 5634 x 3753
White level    : 12500
Black borders  : 158 left, 51 top
Black level    : 974
ISO pattern    : BddB GBRG
Noise levels   : 12.75 9.05 9.22 12.13 (14-bit)
Estimating ISO difference...
ISO difference : 3.18 EV (904)
Black delta    : -9.59
Interpolation  : mean23-chroma5x5-alias
Dynamic range  : 10.31 (+) 9.82 => 13.00 EV (in theory)
Matching brightness...
Looking for hot/cold pixels...
Hot pixels     : 16
Cold pixels    : 1
Full-res reconstruction...
ISO overlap    : 4.1 EV (approx)
Half-res blending...
Chroma filtering...
Building alias map...
Filtering alias map...
Smoothing alias map...
Noise level    : 5.08 (16-bit), ideally 4.86
Dynamic range  : 13.15 EV (cooked)
Black adjust   : -7
Output file    : _MG_0001.DNG