![]() The difference between Negmaster, ColorPerfect, and Filmomat are minimal at best (I don't use Negative Lab Pro because it can't be used in Photoshop). I gave it both colour and B&W negatives and while the results came out very accurately I think other methods work just as well, it certainly isn't a revolution but maybe a small increment forward. I've been playing around with the Demo version and it's nice software if you haven't already got something similar. They can set a fairly narrow process window for paper (in terms of exposure mostly) while for film (and to an extent, RIP Cibachrome), the material just has to deal with whatever Nature throws at it. This is probably possible because the working conditions of paper can be more tightly controlled than for film. The speed difference is there to limit crossover of the blue and green exposures onto the cyan/red and green/magenta layers.Īn additional advantage of the current layer order is that it does away with the two filter layers that are customarily used in color films, reversal materials etc. So it's not that the layer stack was rearranged because of a speed difference etc. As a solution they came up with the speed differential you mentioned earlier. doesn't work if you have the cyan/red layer on top and blue/yellow at the bottom. In consecutive product generations, they stuck with the present layer order. By reversing the layer order, this effect was less apparent. Apparently had to do with unevenness of the baryta base that was still used for color paper back then and mottling resulting from it. I don't think that's why Kodak reversed the layer order of chromogenic papers back in 1954 (prior to that, it followed the layer order of film). ![]() The export feature is disabled in the demo version. The only remaining question I still have is its approach to sharpening. I am waiting for the weekend to spend more time with it, but a dozen or so sample images I have converted, out of the box without any editing, looked incredibly close to my manual conversions with Negmaster neutral color profiles, and far better than the standard NLP output. On top of that, they come with emulsion-specific LUTs and/or custom curves (hello, Silverfast), something this product does not do. Both authors of NLP and Negmaster have written about this on their forums. ![]() Unfortunately, because all competing products are implemented as Adobe plug-ins, they have to fight Adobe color management, so simple digital boosting of exposure/density of each layer is not enough. So in theory it shouldn't be that hard to implement digitally. As each of CMY layers on film receives progressively less light (topmost layers get more, and have higher gamma), this is counterbalanced by reversing the order of emulsion layers on paper. I should have said light sensitivity of its layers. What I meant by density of RA4 paper was. ![]()
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