![]() ![]() Personally in my testing last year I preferred. Yes my process sounds nuts - uses lots of storage and processing power - but it works for me. Throughout this video, I compare two completely different genres of images using Topaz Labs Denoise AI, DxO PureRaw 3, and ON1 NoNoise AI 2022. but take care to avoid the Enhancement tools - particularly face enhancement - unless you are into cartoons.įor very special stuff - I use layers in PS to paint in and localise various copies of the same image - but as a rule when processing large numbers of images - NOPE it is too much work. Sometimes I will use Sharpen AI as an alternative when I want to be very precise in the sharpening and where it is applied I find Photo AI an overly blunt instrument - but it has improved a lot since the original free release. BUT - I do not use LRC's sharpening or noise reduction - I find on most occasions that Topaz DeNoise AI give me what I want (noise reduction and basically simple sharpening). So I still import all files from the cards/cameras then apply the PR3 plugin to process the RAW conversion AND then finish my edits in LRC with PS and other tools as needed. LRC and PS (with ACR) has great tools and very time saving masking and local adjustment tools - PS is now crazy deep. ACR/LRC treats these files very similarly to RAW files but the work PR3 has done is in them (not the same with other types of PNG file) So I use PR3 to process my select raw files and generate a Linear PNG file. WHY - since day one to today while Adobe ACR/LRC was the first software to "permit" processing of Z9 Lossless RAW files - the results have looked "lousy" to me - I much prefer what Capture One and then Pure Raw did to these files. I take all the Z9 Lossless RAW files I want to use through the Deep Prime or DeepPrime XD - I am yet to see the real difference but XD runs almost as fast on my Mac Studio as Deep Prime - so I have been using XD recently. I do not use any Topaz AI tool for RAW conversion. I apply PR3 towards the start of my process and the Topaz AI tools as needed at the end. DxO has just released updates to two of their apps, PhotoLab and FilmPack.For me Topaz AI plugins and DxO Raw 3 (PR3) perform entirely separate roles. ![]() DxO PhotoLab 5 and DxO FilmPack 6 both introduced some exciting new features. You might get even better results with an industrialstrength product like Nik Dfine, part of the Nik collection (now owned by DxO), or Topaz DNoise or. ![]() As in the past, DxO asked me to join them on their virtual press tour showing off the top new features to English speaking media around the world and I’d like to share those demos with you. Photo Editing App Reviews Septem4 Comments Tags: Topaz Labs Topaz Photo AI In this Topaz Photo AI Review, we’re looking at the latest version of Topaz Labs’ superb image enhancement studio that combines Gigapixel AI, Sharpen AI, and Denoise AI into a single easy-to-use interface. The first thing I want to show you are the new Control Lines, but first, I’m going to show you Control Points again. If I wanted to change the color of the water, I can simply drop a Control Point anywhere on the water. Let’s enable Masks so I can see exactly what’s being selected and from here, you can see that I’ve created a Mask to select this part of the water. this is both a pro and a con because the fact it provides you that. that said, with topaz, you need to decide between the different algorithms and then tweak the knobs for the best result for a given image. To select the rest of the water, I’ll just add additional Control Points. over all, i think i can get similar results with topaz, although deep prime xd seems to do a bit better in certain edge cases like eyeballs. The only way Denoise should be used is if it is on a jpeg or tiff. Even DeepPrime is better than Topaz though. Just brings out a whole new level of detail with much less artifacting than Denoise. Three ought to do it there, giving me all the water along the beach. DeepPrime XD is easily better than the other 2. However, you can see that it has also selected the sky. So, I’ll knock part of that out by adding a negative Control Point up here in the sky. ![]() And just like that, we’ve created a pretty good Mask over the entire water. But now, there’s a better way, and that’s Control Lines. Let me reset this and select the new Control Line tool. The Control Line starts like a linear gradient I simply click and drag across my scene to create a Mask that will affect this part of the scene at 100%, and this part at 0%, and then the line in between here is the gradient going from 100 to 0%. ![]()
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