00:00:04
[Music]
00:00:25
hi guys welcome back to another video on
00:00:28
the channel thanks for joining me and in
00:00:31
this video I want to sort of follow on
00:00:34
from the previous video I did looking at
00:00:37
AI raw denoising you've got to
00:00:42
understand that rodino is in is
00:00:45
different from the normal denoising that
00:00:50
we're all used to and we've used for
00:00:52
years which is sort of one of the last
00:00:55
things you do in your workflow whereas
00:00:57
raw D noising is the very first thing
00:01:00
you do in your workflow that's at least
00:01:02
the best way of doing it so anyway
00:01:06
um what I want to do in this video is to
00:01:10
actually address the problem that people
00:01:13
who use raw therapy and dark table have
00:01:17
got because even though the noise
00:01:21
reduction in both programs is pretty
00:01:23
good it isn't a pat on what you can do
00:01:27
with AI raw denoising so what we're
00:01:32
going to do is look at dxo pure all
00:01:36
three and topaz not denoise AI because
00:01:40
they are sort of
00:01:43
um
00:01:44
they're not doing a lot with denoise AI
00:01:48
there was an update to it about three or
00:01:50
four months ago I think
00:01:52
and they're putting all their
00:01:55
development behind photo AI oh which is
00:02:00
a combination of gigapixel AI sharp and
00:02:04
Ai and denoise AI
00:02:06
so it's it's like a multifaceted thing
00:02:10
and so that's where all the topaz
00:02:13
developments going so hence we're using
00:02:15
uh this lady suffering from topaz and
00:02:19
pitching it against the latest offering
00:02:22
from dxo relative to people who work in
00:02:27
rural therapy and dark table so we're
00:02:30
not going to be looking at anything to
00:02:32
do with Adobe today apart from the fact
00:02:34
that we're going to look at an adobe dng
00:02:37
an undenoised adobe dng
00:02:41
in comparison to the other two types of
00:02:45
dng that we're going to get here namely
00:02:48
the one from DX so the name of the one
00:02:50
from topaz because they are different
00:02:53
yes they are okey dokey so how are we
00:02:57
gonna work this well very simply you can
00:03:00
see I've got two images queued here and
00:03:04
the latest version of topaz photo AI uh
00:03:08
we've got this one of this Gothic which
00:03:11
you can see with absolutely no denoising
00:03:14
on it and it's a little bit on the soft
00:03:18
side as well and yeah if you look at it
00:03:21
over on the right
00:03:22
we're allowing uh topaz photo AI to use
00:03:27
it's autopilot settings
00:03:29
and you can see I'm only using the uh
00:03:34
raw D noise
00:03:37
um or raw remove noise and also pilot
00:03:41
why is it's coming in it's strong with a
00:03:44
strength of Two and a detail of 52.
00:03:48
this detail is what's making it go Sharp
00:03:53
okay because if I turned the detail off
00:03:57
um you'll see it's it's pretty much as
00:04:01
soft as this but it's it is very
00:04:06
effectively
00:04:08
um denoised uh just with a strength
00:04:11
setting of two
00:04:13
so I'm actually going to put it back
00:04:16
where it was okay
00:04:19
um because that's
00:04:21
I think that's right it was for Nick 52
00:04:23
if we just go and use autopilot settings
00:04:26
again yeah yeah that's right so the
00:04:30
sharpening in topaz under the actual
00:04:34
denoising not the sharpening I find just
00:04:39
about perfect
00:04:41
um we're also going to be processing
00:04:43
these self same two images in DX so and
00:04:47
this is all you see in dxo until we get
00:04:52
process now and so what I'm going to do
00:04:55
is it process now and we'll come up with
00:04:58
this process two photos dialog box I'm
00:05:01
using deep primary XD as the denoising
00:05:06
and I don't use lens Distortion and I
00:05:10
don't use vignetting Corrections I've
00:05:13
actually got both of those turned off in
00:05:16
topaz as well because the lens
00:05:19
correction that lenses Distortion
00:05:22
Corrections and the vignette Corrections
00:05:24
are not identical
00:05:27
to what they are in DX so they don't
00:05:30
share each other's files
00:05:33
for Distortion and vignetting I am going
00:05:37
to correct the chromatic aberration
00:05:39
because topaz correct for chromatic
00:05:42
aberration as well and so there you go
00:05:45
but I am not going to sharpen the output
00:05:50
or go on I think of I might as well but
00:05:54
if if you see the lens softness
00:05:57
can either be soft standard strong or
00:06:01
hard
00:06:02
okay so with each softy setting I find
00:06:06
it a little tiny tiny bit on the
00:06:11
aggressive side and when I use the EXO
00:06:15
for myself I have it turned off and I
00:06:19
only correct the chromatic aberration
00:06:21
but a supposing all fairness I ought to
00:06:25
have one softness turned on but I'm only
00:06:28
going to have it set to soft okay output
00:06:33
format dng
00:06:35
um going into the original image folder
00:06:38
so we'll go start processing and as I
00:06:42
say
00:06:43
um I'm not going to be happy with the
00:06:45
sharpening on the DXL one I think it is
00:06:47
a little tiny bit too aggressive
00:06:51
um but we'll process these they'll be
00:06:53
just about done any second and I'm sorry
00:06:57
the anti-adobe guys but you are going to
00:06:59
see a flash of that Lightroom now
00:07:01
because it's all into link with that
00:07:03
Lightroom on my machine
00:07:05
so I'm just going to go quit Lightroom
00:07:09
classic
00:07:10
quit skip this time okie dokie and there
00:07:16
we go so and don't worry if you've not
00:07:19
got these plugins
00:07:22
um I am going to be supplying all the
00:07:25
files including the two raw files
00:07:28
um don't try passing them up on your own
00:07:30
otherwise I should be most peeves yeah
00:07:35
um but I'll put a link in the
00:07:37
description below where you'll be able
00:07:38
to download the two raw files the two
00:07:41
deep primary XD files and the tube topaz
00:07:44
files okie dokie so we'll go processing
00:07:48
done thank you very much and we'll quit
00:07:50
pure rule three and so what we'll do now
00:07:54
is come back to Topaz photo II and you
00:07:57
can see it's it's doing what it's doing
00:08:00
here no sharpening detail 52 strength
00:08:04
two uh we come over to the next shot
00:08:09
here uh so much time you've possibly
00:08:14
seen before in another video and raw
00:08:18
denoising it's coming in it's strong
00:08:20
again this time strength one and detail
00:08:23
at 55 and I'm just gonna let it run at
00:08:27
default and we'll just go save two
00:08:31
images to the original folder format dng
00:08:35
if we open up before format drop down
00:08:38
menu you can see it says preserve input
00:08:41
format that's just a loading junk yeah
00:08:45
because he can't write CR2 files and you
00:08:48
can't write net files it actually
00:08:51
rewrites dng so why they put that there
00:08:54
I don't know I'm just going to switch
00:08:57
out to dng and we will go say and point
00:09:02
of that and if we want what we'll do is
00:09:03
we'll we'll do preserve import format
00:09:07
but you see it's still going to be a dng
00:09:11
so you know you take your pick don't you
00:09:15
so we'll click save
00:09:17
and we'll just wait a second and that
00:09:20
will be done too
00:09:23
um then we'll go and open these in raw
00:09:26
therapy and dark table yeah now the um
00:09:30
while I'm closing this out the uh guys
00:09:33
who are on Linux machines who are using
00:09:37
raw therapy and or dark table and I
00:09:42
don't quite know how you're gonna pull
00:09:44
this one off either people who've got
00:09:46
Linux machines and they've got a Windows
00:09:49
12 laptop and they are moving images
00:09:54
over onto the Windows machine and
00:09:58
denoising them that way and then moving
00:10:00
them back to the other machine uh but if
00:10:03
your machine has got enough poke uh in
00:10:07
terms of CPU power and RAM and disk
00:10:10
space you could I suppose very easily go
00:10:14
and put a virtual machine on and that
00:10:16
run over a Naco ass or or a PC uh
00:10:21
Windows operating system within the
00:10:23
virtual machine
00:10:25
um but I'm just illustrating
00:10:27
um the quality of this
00:10:29
um raw Aid noisy and as you will see it
00:10:33
in raw therapy when viewed in rural
00:10:36
therapy and when viewed in Dart table
00:10:37
and as I say all the contents of that
00:10:41
this folder I will make Available to You
00:10:44
including the um
00:10:47
non-denoised dng which is a genuine
00:10:50
Adobe dng and you'll see the difference
00:10:54
uh shortly in the dng formats all righty
00:11:00
that's why I'm supplying this actual
00:11:03
Adobe dng which is just this original
00:11:06
raw file here uh run through the Adobe
00:11:10
dng converter and that's the result so
00:11:13
everything that's in this folder will be
00:11:15
made available for anybody to go and
00:11:17
download off my I think I'll put it on
00:11:19
my Google Drive but anyway
00:11:22
and what I'm going to do is Select these
00:11:25
four Images now so let's select all four
00:11:28
and then we'll go open with
00:11:31
and we'll go open with rural therapy
00:11:35
and there we go and it's uh even brought
00:11:38
the raw files in as well why I have no
00:11:41
idea but well so uh there you go because
00:11:45
it shouldn't have done because it didn't
00:11:46
tell it to you but hey yo and so you can
00:11:50
see I've got a raw file
00:11:53
all right which is I'll take it that one
00:11:56
uh no that one
00:11:59
yes there's the raw file
00:12:02
um we've got the Deep primary XD and the
00:12:06
topaz denoise D and G did this say e x d
00:12:09
d n g e mobile I mean there we've got
00:12:13
the raw file and we've got the Deep
00:12:16
Prime dng and we've got the uh topaz dng
00:12:22
and if we'll look at the topaz dng for
00:12:25
that
00:12:26
and all I'm going to do is just very
00:12:30
simply I'm just going to lift up on this
00:12:34
curve here and we will go into a hundred
00:12:39
percent and there you go I mean you can
00:12:42
do what you want with us
00:12:44
all right I just cannot fault it
00:12:47
um let's go and
00:12:50
switch over to the Deep Prime
00:12:54
there we go one let's go and do roughly
00:12:56
the same thing to that
00:12:58
and there you go
00:13:01
um if if you'll just notice don't forget
00:13:04
I did say I don't for my own ends I
00:13:08
don't actually put use the sharpening on
00:13:12
dxo because I find it just a little bit
00:13:16
on the aggressive side but we did put it
00:13:20
on it's soft in other words as low as
00:13:22
it'll go and if you just notice
00:13:26
um this is the one that I think is
00:13:29
slightly too sharp and that's the one
00:13:34
that I think is just a little bit better
00:13:36
uh let's just get rid of a little more
00:13:40
of the lift there we go so I think the
00:13:43
sharpening on that is absolutely perfect
00:13:47
and as you can see absolutely no noise
00:13:51
even if we go in at 800 percent I mean
00:13:54
it's mental
00:13:56
you do get one or two little
00:14:00
um artifacts which you need to touch up
00:14:02
possibly in or whatever
00:14:05
um if you were going to print this image
00:14:07
that sort of you know ate thought
00:14:12
because those little artifacts will
00:14:15
print as well so you might need to just
00:14:17
go around the edges and do a little bit
00:14:18
of cleanup
00:14:20
um all with the Deep Prime
00:14:22
be I just found out just a little bit
00:14:26
aggressive
00:14:27
um but you'll notice the artifact on the
00:14:30
end of the beak is uh a little bit more
00:14:34
obvious inside the topaz version uh than
00:14:40
it is in the Deep Prime version and
00:14:43
actually for image quality IQ I do
00:14:49
actually find that you know like I say I
00:14:53
don't usually sharpen in DX so don't let
00:14:57
any don't do any lens softness
00:14:59
Corrections and I'll use the
00:15:01
um sharpening uh usually deconvolution
00:15:04
sharpening in raw therapy
00:15:08
um but I do find it just a little bit
00:15:11
nicer but I mean this is this is
00:15:15
blooming fine really I suppose and when
00:15:19
it comes to printing you know you're
00:15:22
going to put print sharpening on it
00:15:23
anyway which is going to make it look
00:15:24
bloody terrible
00:15:26
um but you know I mean you just couldn't
00:15:29
pair uh that
00:15:32
view of that image out of either one of
00:15:36
these
00:15:37
uh all with the raw file
00:15:42
um so I mean it is
00:15:44
um
00:15:45
really truly uh quite amazing
00:15:49
what we're doing here you know and just
00:15:52
do the same adjustment to the raw file
00:15:54
and to look at that you know I mean
00:15:58
there's a lot of noise on that yeah
00:16:00
there was right 12 800 I think
00:16:03
if we go to the other shot okay and we
00:16:09
fundamentally gonna do the same
00:16:11
operation here I'm just going to come to
00:16:14
the curve I mean there's dozens of ways
00:16:16
you can lighten the image up uh as I've
00:16:18
already shown you especially in rural
00:16:21
therapy uh
00:16:23
this is this is where you see more of
00:16:28
that sharpening this is the uh deep
00:16:32
Prime and I mean just just where you get
00:16:36
dark to very light edges in other words
00:16:38
very high contrast boundaries
00:16:41
um I'm just a little bit wary I think it
00:16:44
looks a little bit crispy and if I go to
00:16:49
the topaz one
00:16:52
and we just lift that one up I just find
00:16:56
that not quite as crispy right that
00:16:58
edges up just a little bit cleaner but
00:17:01
like I say you can go and download these
00:17:03
files and just put just put a little
00:17:06
curves left on them yourself and have a
00:17:08
plate and see what you think
00:17:11
all right so that's raw therapy covered
00:17:14
raw therapy can see absolutely
00:17:17
everything
00:17:18
but here's your problem
00:17:20
uh first off
00:17:22
with the topaz uh dng
00:17:27
um we've got no way of changing the
00:17:30
demosaican algorithm and we haven't got
00:17:34
access to capture sharpening so this
00:17:36
level of sharpness we are stuck with
00:17:39
okay and the thing goes for the
00:17:44
um topaz uh no the dx01 and we are stuck
00:17:49
with this level of sharpening
00:17:51
um because we've got no access to um the
00:17:55
actual demosaic and the capture
00:17:57
sharpening however
00:18:00
if I go to file Brown so
00:18:04
um do I go to genuine Adobe dng now
00:18:08
don't forget this is got no noise
00:18:10
reduction on it at all but this is what
00:18:13
a dng should be like
00:18:16
because if you look under the raw tab I
00:18:20
can go and select any one of the single
00:18:25
or combination
00:18:27
um raw demosaican algorithms I can
00:18:31
change my chromatic aberration settings
00:18:34
I can choose my raw white points I can
00:18:38
change my
00:18:39
um process white balance I can add a
00:18:42
dart frame I can add a flat field frame
00:18:44
if it was doing Astro work and I've also
00:18:47
got access to capture sharpening okie
00:18:51
dokie so that's what a proper dng looks
00:18:56
like all right and those are the
00:18:58
facilities given to you by a proper dng
00:19:00
the
00:19:03
um
00:19:03
dngs that you get out of topaz and DX so
00:19:08
do not give you access to this all this
00:19:12
slot is already baked in you cannot
00:19:15
change it so you need need to be aware
00:19:18
of that small sort of caveat
00:19:22
okay so I think I'm just about done with
00:19:25
raw therapy so I'm going to shut raw
00:19:27
therapy now and we're going to come back
00:19:31
to these images again and this time
00:19:33
we're going to go open with a dark table
00:19:37
and you're going to have a bit of a
00:19:39
surprise here
00:19:40
so and just wait for dark table to fire
00:19:43
up
00:19:46
I'm what's with this Space Invaders
00:19:49
topaz denoise dng is not available
00:19:53
um
00:19:55
um do you like Space Invaders yes they
00:19:58
do
00:19:59
so for some unknown reason we cannot
00:20:03
access
00:20:05
these topaz uh dngs inside of dark table
00:20:12
um from what I did it's not the first
00:20:14
time and believe me to believe it or not
00:20:16
you didn't used to be able to use them
00:20:19
inside a raw therapy either
00:20:22
um but that was up till about 18 months
00:20:25
two years ago raw therapy seems to not
00:20:27
have a problem with them dark table does
00:20:30
and if I go back to
00:20:34
um
00:20:35
a folder and then I go to add to library
00:20:41
and we twiddle that and come there and
00:20:45
say yeah add that one to library which
00:20:48
is the um
00:20:50
uh this one which is the Adobe dng uh
00:20:55
the correct dng if you like we come back
00:20:58
to what's on if you look at D Mosaic and
00:21:01
we can gain access to D mosaican and we
00:21:06
can choose any one of the available
00:21:09
um demosaic in algorithms inside of
00:21:13
um dark table
00:21:15
but if I come back to light table now
00:21:18
and go back to where this folder here
00:21:24
um we have a problem and like I say the
00:21:27
topaz ones we can't open
00:21:30
and the Deep Prime
00:21:34
um let's just come back to original and
00:21:38
um
00:21:38
what we're going to do first of all well
00:21:42
if we look at um
00:21:45
what's on and we haven't actually got uh
00:21:49
the D Mosaic in tab here and if we can
00:21:53
find it where is demo taking this is
00:21:55
another nice thing some people who are
00:21:57
new to dark table might not know this uh
00:21:59
we can actually do do a search uh
00:22:03
demosaican not applicable to this image
00:22:07
hmm yeah so you can't gain access to uh
00:22:12
your D Mosaic in algorithms with
00:22:15
the dxo dngs here
00:22:21
um which you know but at least we can
00:22:25
blob him while opening yeah and work on
00:22:28
them and I suppose all we're going to do
00:22:31
uh here is just come to the exposure tab
00:22:37
um turn it on
00:22:39
um let's lift up the exposure a little
00:22:41
bit
00:22:42
okie dokie
00:22:44
there we go have we got any clipping
00:22:47
let's go clip the turn the clipping
00:22:49
indicator on yeah we've got a little bit
00:22:52
of clipping in there I don't mind the
00:22:54
clipping in the eyes
00:22:56
you know we could go and do a shadow we
00:22:58
just
00:22:59
um we could go and uh tell you what
00:23:01
we'll do we'll see um what are we gonna
00:23:04
do are we going to uh leave exposure on
00:23:07
or off let's turn it off and let's go to
00:23:09
local contrast
00:23:11
um local contrast is usually quite good
00:23:14
um and turn down the contrast in the
00:23:16
highlights a little bit turn down the
00:23:19
contrast in the mid-tones turn down the
00:23:21
contrast in the shadows
00:23:25
I don't mind these little bits of uh
00:23:27
specular clip in here but the only thing
00:23:31
is what's uh possibly screwing it up is
00:23:34
the white balance
00:23:37
um because we're in an asshot
00:23:40
um default and so I might just go
00:23:44
Um not necessarily to camera reference
00:23:48
um I might go from image area and there
00:23:51
we go so we could do we could take we
00:23:54
could control the exposure in this
00:23:57
um in many ways in there light in dark
00:24:00
table and more more ways that we can
00:24:03
actually control it inside raw therapy
00:24:06
um let's go and look at the other dng
00:24:08
how to fame
00:24:11
dxo and I'm just going to turn the
00:24:14
clipping indicator off we don't need it
00:24:16
turned on and this will probably just go
00:24:19
under exposure and I'll just turn it up
00:24:23
to get it where I want it to
00:24:26
um we can go into where the shadow areas
00:24:29
look at all the lovely detail in there
00:24:32
and um up in here and we've got no noise
00:24:37
in these Shadows we've got a very very
00:24:39
dark area here and file down hit me out
00:24:44
key uh no shift key no control key
00:24:48
that's the one if we look inside this
00:24:51
very very dark area it's some ludicrous
00:24:54
1600 mag you can see we've got no noise
00:24:58
and you know I mean what do you want to
00:25:03
do for your money uh you know the nice
00:25:08
thing is we can bring all sorts of tools
00:25:11
to bear inside of their dark table
00:25:16
still think it's a little bit crispy
00:25:18
down here but well never mind and after
00:25:21
I'm going to go to color and I'm going
00:25:24
to go and turn on color zones for this
00:25:27
one I'm going to get a pick and I'm just
00:25:30
going to pick there the yellow with the
00:25:33
beak and so under saturation I'm gonna
00:25:37
wire the saturation up and then on the
00:25:40
lightness I'm just going to drop it down
00:25:43
a little bit just to try and preserve
00:25:46
some detail on that and we'll come back
00:25:49
to here we've already got um an exposure
00:25:52
adjustment on there so here's the other
00:25:55
nice thing about dark table because I
00:26:00
can then go on generate a new instance
00:26:03
of
00:26:04
um the exposure adjustment and I can
00:26:08
quite simply come in with a drawn mask
00:26:11
mask and I'm going all Posh now mask
00:26:14
coming in with a drill mask will use a
00:26:17
brush and that just it used me scroll
00:26:20
wheel to drop its size a little bit and
00:26:23
I'm just going to brighten up round the
00:26:25
eye and over the eyebrow
00:26:28
there and then sort of sweep it back and
00:26:31
come in there rather like that so we
00:26:34
just put in a little bit of a blob on
00:26:37
there and just check the mask is the
00:26:40
right way around yes it is and black and
00:26:43
white conceals yellow reveals
00:26:46
really strange but well later and all
00:26:50
we're going to do is just add all right
00:26:52
well we're not we're going to come click
00:26:54
this icon here so we can't see the brush
00:26:57
path
00:26:58
and I'm just going to lift the exposure
00:27:01
there and just a little tiny bit okay
00:27:05
and then do I want to go and put on a
00:27:08
local contrast on this one let's turn it
00:27:11
on and that makes it look a little bit a
00:27:15
little bit too dark in the dark areas
00:27:17
for me so I'm going to turn the
00:27:20
Shadows down and I might actually turn
00:27:25
the mid-range down a little bit
00:27:28
and with the highlights up
00:27:32
or maybe take him down a little bit I
00:27:34
don't know detail
00:27:36
just drop that
00:27:39
um a little smidge uh turn it off turn
00:27:43
it back on I mean that looks blooming
00:27:46
marvelous to me you know these little
00:27:49
nice tools that you've got in Dart table
00:27:52
um
00:27:53
you know I mean they can just make some
00:27:57
great adjustments local adjustments to
00:28:00
your images and of course if you can
00:28:03
start off with a total with an image
00:28:05
because you've got totally no noise in
00:28:08
it whatsoever
00:28:09
and it got so much exposure latitude in
00:28:13
it it just makes you processing life
00:28:16
just an awful lot easier because
00:28:19
ordinarily when you're processing these
00:28:22
iiso uh noisy images you constantly
00:28:26
being careful about what adjustments you
00:28:30
make and the amount of adjustment you
00:28:33
bring to there allow carefully you mask
00:28:36
things because you're trying to do your
00:28:38
level best to not exacerbate the noise
00:28:41
that's already there and then you you're
00:28:44
actually then going to try and denoise
00:28:46
the image when you've got it to where
00:28:48
you want it to be and as soon as I'm
00:28:52
giving you all these files for free I
00:28:54
challenge anybody either in Dart table
00:28:57
or raw therapy to use Dart table or raw
00:29:00
therapies
00:29:02
um I'm very good
00:29:06
a while back uh or like three months ago
00:29:09
uh noise reduction techniques and if you
00:29:13
can come within 10 percent
00:29:17
as good as the noise reduction in these
00:29:21
images that you've seen me make today
00:29:23
and don't forget I've been making them
00:29:25
just with the fundamentally the default
00:29:28
settings
00:29:29
um
00:29:30
then let me know if you if you've got
00:29:34
any grain in your images
00:29:36
when you either go at processing these
00:29:38
uh don't get in touch because I'm just
00:29:42
not interested but if anybody can
00:29:44
actually come within 10 percent of this
00:29:47
level of noise reduction uh with the
00:29:50
pre-existing noise reduction tools and
00:29:52
Rural therapy or dark table I would be
00:29:55
interested to know how the hell they've
00:29:57
done it and but don't just tell me about
00:29:59
it show me the result as well otherwise
00:30:02
I won't believe you no all right guys
00:30:06
and girls uh that's just about it from
00:30:08
me today I hope you found that useful
00:30:10
hope you found it interesting uh Linux
00:30:13
guys
00:30:14
um you need to have a serious think
00:30:17
about how you can get all of this um
00:30:20
AI technology now at the end of the day
00:30:23
you let me just say this
00:30:25
I wouldn't dream of deploying this um AI
00:30:30
denoising or Raw denoising on my images
00:30:34
unless they were actually suffering from
00:30:39
an excess amount of noise
00:30:42
um anywhere from base ISO to one or two
00:30:47
thousand I so I just wouldn't use this
00:30:51
um method of denoising this um Aid noisy
00:30:55
I'm quite happy with the denoising
00:30:57
facilities I've got in Lightroom in fact
00:31:00
in um raw therapy and in Dart table but
00:31:03
when you start to really push the boat
00:31:07
out and start crippling your dynamic
00:31:11
range on your camera because you've got
00:31:13
like four five six seven stops
00:31:16
um above base or more
00:31:19
you're going to have problems and those
00:31:22
problems are very hard to get hold of or
00:31:25
get on top of with conventional noise
00:31:28
reduction and yet they are just a simple
00:31:31
clickety-click job with this new breed
00:31:36
of
00:31:38
um raw Aid noising so uh
00:31:41
and Linux users you've got you you've
00:31:45
got to face up to facts you've somehow
00:31:48
or other if you produce these very high
00:31:51
ISO noisy images
00:31:55
um that you find difficult to impossible
00:31:57
to process onto normal circumstances
00:31:59
with the normal tools available to you
00:32:01
you've got to work out how to get
00:32:04
yourself
00:32:06
um the ability to work with the likes of
00:32:09
dxo or um topaz deep prime or pure rule
00:32:14
three or whatever they call it just
00:32:16
remember if you're on Dart table
00:32:20
um the topaz one might be a little bit
00:32:22
problematic for you and tell pass I
00:32:25
don't know what it is whether they are
00:32:28
whether they've got a drunk who actually
00:32:31
codes their dngs because I can remember
00:32:36
um topaz denoise Ai and when it first
00:32:40
came out
00:32:42
um I've been using raw therapy for a
00:32:45
while and you could open the images in
00:32:47
rural therapy and then and they did an
00:32:50
update to the noise Ai and you saw me
00:32:53
you couldn't open the images then you
00:32:55
could then you couldn't then you could
00:32:57
then you couldn't and it's like I don't
00:33:00
know I mean well I don't know it's as if
00:33:02
the guy who does all the coding
00:33:04
authorities uh either drunk or
00:33:06
occasionally manic depressive I don't
00:33:08
know but uh dxo uh just seemed to be
00:33:14
pretty consistent and I've ever since
00:33:17
I've been using dxo which are it's only
00:33:20
this latest copy that I've actually paid
00:33:23
for uh all the rest I've tried
00:33:27
um in in each various version guys and
00:33:30
they always seem to open in dark table
00:33:33
and they always seem to open in raw
00:33:34
therapy so there you go
00:33:36
um I was saying stand raw therapies got
00:33:39
slight slight versatility to add to it
00:33:43
because it can open both but the tools
00:33:46
you have access to inside of dark table
00:33:49
are somewhat more expansive so well
00:33:53
there you go anyway I'm waffling on and
00:33:56
uh so until the next time guys and girls
00:33:58
stay safe stay well keep taking the
00:34:00
pictures and I'll see you in the next
00:34:02
one too
00:34:05
[Music]
