User manual DXO OPTICS PRO 6.2

[. . . ] 1 Table of Contents toc Introduction to DxO Optics Pro 6 Your first automatic processing session "Select" tab "Customize Settings" tab "Process" tab "View" tab DxO Optics Pro menus and preferences Keyboard shortcuts 1 2 3 4 5 6 7 8 DxO Optics Pro 6 User manual Table of Contents Chapter 1 22 4. 3 Virtual copies 23 4. 4 Workspaces 23 4. 4. 1 The "DxO - First steps" workspace 24 4. 4. 2 "DxO - Essentials" workspace 25 4. 4. 3. "DxO - Advanced user" workspace 25 4. 4. 4 Creating your own workspace 25 4. 5 Detailed information for all settings 26 4. 5. 1 Image checking palettes 28 4. 5. 2 Correction palettes 43 4. 5. 3 My Palette 43 4. 6 Presets 43 4. 6. 1 What is a preset?Presets supplied with the software 45 4. 6. 3 Applying presets 46 4. 6. 4 Creating presets 46 4. 6. 5 "Preset Editor" palette Chapter 5 2 toc 1 4 Introduction to DxO Optics Pro 6 4 1. 1 The basic concept: automatic corrections 5 1. 2 Basic principles of an image enhancement session 6 1. 3 Additional post-processing: DxO Optics Pro first 2 3 Chapter 2 8 Your first automatic processing session 8 2. 1 Step 1: Selecting images 9 2. 2 Step 2: Adjusting the correction settings 10 2. 3 Step 3: Image processing 10 2. 4 Step 4: Viewing results and making adjustments 4 5 6 7 Chapter 3 12 "Select" tab 12 3. 1 Creating a project 13 3. 1. 1 Selecting images using standard navigation 14 3. 1. 2 Selecting images from the database of previous projects 8 49 "Process" tab 14 3. 1. 3 Selecting images from a Lightroom catalog 14 3. 1. 4 Selecting images from multiple sources 14 3. 2 "PROJECT" pane 15 3. 2. 1 Icon bar 16 3. 2. 2 Thumbnail icons 18 3. 2. 3 Commands accessed by right-clicking 18 3. 2. 4 Stack management Chapter 4 50 5. 1 "Process" tab commands 50 5. 2 JPEG output formats 50 5. 2. 1 Quality 50 5. 2. 2 Destination 51 5. 2. 3 Suffix 51 5. 2. 4 Size 51 5. 2. 5 Interpolation 51 5. 2. 6. Resolution 51 5. 2. 7 ICC Profile 51 5. 3 TIFF output formats 20 "Customize Settings" tab 20 4. 1 The "IMAGE" pane 21 4. 2 Adjusting settings 51 5. 3. 1 Quality 52 5. 3. 2 Destination 52 5. 3. 3 Suffix 52 5. 3. 4 Size 52 5. 3. 5 Interpolation 52 5. 3. 6. [. . . ] The action of the Lightness slider is interesting and easy to understand if you look at the results of the changes on the Histogram display. Moving the slider to the right or entering a positive figure lifts the black level towards white, compressing the tonal range into the upper half of the scale. Conversely, moving the slider to the left or entering a negative number brings the white level down towards black, compressing the tonal range into the lower half of the scale. The "As Shot" button cancels any HSL correction. The same applies if you uncheck the correction on the Color palette. NOTE: If you want to correct several colors at the same time, we suggest you have something to hand with which you can take notes on the correction values used for each color layer so that you can fine-tune a particular correction without having to start over again: moving a color just a few points can have a significant effect!Multi-point color balance (MPCB) Multi-point color balance is a hybrid tool that makes it possible to make fine adjustments to an image's neutrality following an initial color balance, or to modify one color for creative purposes whilst preserving the variations of the other colors. It can also be used to radically change four different colors in the image ­ but in that case the results risk departing a long way from a natural look. To transform a color, you click on the multi-point balance icon, which will display two thumbnails. In the left-hand image you select a colored area of the image and a color wheel is superimposed on it, with a radial line across it that controls 3 4 5 6 7 If the optional DxO FilmPack module has been activated, you can also select effects filters for B&W and toning styles that reproduce the effects of chemical treatments on paper prints. The "Contrast" slider lets you adjust the overall contrast of the image. The "Saturation" slider lets you move from black and white (-100) to highly saturated colors (+100). HSL (Hue / Saturation / Lightness) 8 This rollup gives you very fine adjustment of hue, saturation and lightness, either for the master channel, or independently for each of the three primary (Red, Green, Blue) and three secondary (Yellow, Cyan, Magenta) color axes. These settings allow you to make very fine adjustments, because the Hue slider can be moved to the left or right, or a positive or negative figure can be entered in the edit box. The exact effect of this slider is naturally affected by which color channel(s) you have selected to adjust. The slider and box values range from +180 to -180. This is a very powerful correction, because you can move the red hues in an image towards green or blue without the grays being affected! the saturation. The hue is changed by turning the wheel, adjusting the saturation of the selected color. You can temporarily lock the hue by holding down the Ctrl key as you drag the pointer with the mouse, or the saturation by holding down the Shift key. Hue or saturation can also be locked by right-clicking on the color wheel and selecting one of these two options. This control can be applied to up to four colors in the image, but if you only want to change one color, it can be effective to click on adjacent colors to protect them from being affected. TIP: You might want to zoom in to a specific part of your image to make choosing the exact color point easier. You can zoom after you have clicked on the MPCB icon. [. . . ] The image and its corresponding . dxo file can then be copied onto another computer. If the "Load settings from sidecar file automatically" option has been enabled in the version of DxO Optics Pro installed on that computer, the sidecar will be automatically associated with this image when it is added to a project. 5 6 7 General 7. 9. 2 Process 8 In this tab you can: In certain cases, it is possible to have two Source images with the same filename but different extensions (e. g. Img34. jpg and Img34. CR2) This will be the case if you have shot in RAW+JPEG, which you can do with most cameras. During processing, the application will generate output images with the same name which will overwrite each other. [. . . ]