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FORUMS Post Processing, Marketing & Presenting Photos RAW, Post Processing & Printing 
Thread started 11 Dec 2018 (Tuesday) 11:19
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New to 80D - Loading Raw into Photomatix Pro v 4 = purple

 
56_kruiser
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Dec 11, 2018 11:19 |  #1

Title pretty much says it. I have never had this problem before with my older T2i.

I do a lot of stacking/HDR. I just got an 80D, and my first set of 5 shots to stack come into Photomatix with a purple haze. See attached. Any idea what's going on? (SAme jpgs saved load and process fine.)


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kirkt
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Post edited 3 months ago by kirkt. (2 edits in all)
     
Dec 11, 2018 14:06 |  #2

When you load a raw file into an application and you get a funky purple or magenta veil over the entire thing, the first suspect is that the raw file for that particular camera model is not supported by the application.

If you are using raw files, try converting them to DNG with Adobe's free DNG Converter and then feed those to Photomatix and see if that solves your problem. According the HDRSoft FAQ, you can contact them and request raw file support for your camera.

Otherwise, please post the version of Photomatix you are using and, ideally, upload your source image files to something like Dropbox so we can attempt to reproduce your problem.

kirk


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56_kruiser
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Dec 11, 2018 15:09 as a reply to  @ kirkt's post |  #3

I really appreciate the input.

The version of the SW as noted in the title is V4, but more specifically, it is 4.2.4. I didn't see enough in the newer version to upgrade, although it's been a while since I've checked.

The camera being a Canon, the files are CR2 files, and I would have expected them to be the same CR2 as from my T2i...well, same format. I certainly could be wrong.

FYI...I don't have this problem with a different app, say, Affinity Pro. I haven't tried in Photoshop yet.

I've loaded 5 CR2 files to a zip, located in my Dropbox here (external link).


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D ­ Thompson
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Dec 11, 2018 15:28 |  #4

I have V5.1.3 and they look ok on mine. Top is the 32 bit rendering before sending to tonemap, bottom is default in tonemap.


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56_kruiser
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Dec 11, 2018 16:37 as a reply to  @ D Thompson's post |  #5

Interesting.

JFYI...I did find an issue when doing the RAW in Affinity Pro. The ceiling outside the windows has a purple cast.


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monty28428
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Dec 11, 2018 17:12 |  #6

56_kruiser wrote in post #18768965 (external link)
I really appreciate the input.

The version of the SW as noted in the title is V4, but more specifically, it is 4.2.4. I didn't see enough in the newer version to upgrade, although it's been a while since I've checked.

The camera being a Canon, the files are CR2 files, and I would have expected them to be the same CR2 as from my T2i...well, same format. I certainly could be wrong.

FYI...I don't have this problem with a different app, say, Affinity Pro. I haven't tried in Photoshop yet.

I've loaded 5 CR2 files to a zip, located in my Dropbox here (external link).

Bad assumption... see https://www.hdrsoft.co​m …y/photomatix-pro-win.html (external link) to notice 80d raw is not supported until v5.1.3




  
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digital ­ paradise
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Post edited 3 months ago by digital paradise.
     
Dec 11, 2018 18:09 |  #7

I had that happen when I got a new camera a few years ago. Whatever version I had did not support it.


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tzalman
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Dec 12, 2018 02:17 |  #8

56_kruiser wrote in post #18768965 (external link)
I really appreciate the input.

The version of the SW as noted in the title is V4, but more specifically, it is 4.2.4. I didn't see enough in the newer version to upgrade, although it's been a while since I've checked.

The camera being a Canon, the files are CR2 files, and I would have expected them to be the same CR2 as from my T2i...well, same format. I certainly could be wrong.

No two CR2s are the same if they are from different models. CR2 is not a recognized format that must adhere to international standards, it is Canon's private property where they can do what they please and it apparently pleases them to change its structure for each new model. Sometimes the change is justified by the need to accommodate new camera technology, but more often it is merely cosmetic but enough cause all the authors of Raw conversion software have to rewrite some code. It's not just Canon, all the major makers do it.

Why? They claim they are protecting "trade secrets". A dozen years ago Adobe offered a free open standard Raw format called DNG for all to use; for the most part the offer was rejected. So once in about every three months the major third party software suppliers have to issue updates. Smaller, less well known Raw engines like the Open Source DCRaw that is used in several dozen applications can do it faster, but the big advantage goes to the maker's own software that, forewarned, can be ready to roll together with the release of the new model.


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56_kruiser
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Dec 15, 2018 10:35 |  #9

Thanks for all the input. I definitely learned something.

I wonder if Nikon raw does the same thing to their files. It screws up all use of third party software.

I find this very very frustrating.


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Dec 15, 2018 14:14 |  #10

56_kruiser wrote in post #18771302 (external link)
Thanks for all the input. I definitely learned something.

I wonder if Nikon raw does the same thing to their files. It screws up all use of third party software.

I find this very very frustrating.


It's the same for all cameras, they have to tweek stuff for each different implementation of sensor, as they are all slightly different. So the software has to know the details for every supported camera. You even need to update manufactures software too, but at least that is usually out as the camera reaches the shops.

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monty28428
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Post edited 3 months ago by monty28428. (2 edits in all)
     
Dec 15, 2018 14:34 |  #11

^^ What Alan said


You can always convert your raw file to Adobe DNG - this raw like format is supported by most software and Adobe provides a free converter for you:

https://www.techspot.c​om …-adobe-dng-converter.html (external link)

Or

https://helpx.adobe.co​m …l-negative.html#download​s (external link)




  
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56_kruiser
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Dec 15, 2018 22:15 |  #12

monty28428 wrote in post #18771446 (external link)
^^ What Alan said


You can always convert your raw file to Adobe DNG - this raw like format is supported by most software and Adobe provides a free converter for you:

https://www.techspot.c​om …-adobe-dng-converter.html (external link)

Or

https://helpx.adobe.co​m …l-negative.html#download​s (external link)

Thanks. Good idea. Just adds another step.

But, it is what it is. Part of my learning process.

Thanks again, all.


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Stiga
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Dec 16, 2018 06:56 |  #13

I'm a bit late on the scene with this thread but thought you might like to see how Photomatix 6 renders your bracketed set.

1. Straight out of Photomatix


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2. Post processed in Photoshop (mostly ACR). The most significat step was to warm up the colour temperature a bit.

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kirkt
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Post edited 3 months ago by kirkt. (3 edits in all)
     
Dec 16, 2018 09:03 |  #14

It seems like your raw files have a mix of ambient exposures with shutter speed variation and then a couple of flash exposures. In photomatix, you would need to manually enter the exposure value of the flash images if you are going to use those images.

Also, the exterior areas of your image are purple-bluish because you have two different color temperature light sources in your image - the interior is lit by a lower color temperature (warmer, say around 3000 °K) source (the ceiling lights) and the exterior scene is lit by daylight, which is cooler in color temp than the interior (say, 5100 °K or so) and shade, which is even cooler (say ~6500 °K). If you white balance for the interior, you will shift the exterior lighting more toward blue, which will result in the appearance you see in your image. You will need to correct the cast in the exterior portions of the scene with a mask or a blend if. This is a common issue when shooting interior-exterior scenes. You can try a different route which involves illuminating the interior exclusively with flash, possibly gelled to match the exterior color temp. You can use a single flash and take multiple images with flash illuminating different parts of the scene, then composite those images into a single result. You can use a high shutter speed (at least the sync speed of the camera) to cut the ambient light from each image, then take a single, well exposed ambient shot without flash the blend into the composite. This way you avoid the multiple color temperature problem and have more control over the lighting in your scene. You would also need to take a high shutter speed shot without flash to capture the windows and other portals to the exterior correctly, and then blend these into the composite as well. It goes without saying that all of this requires a tripod.

You can also merge the three ambient images in photomatix two times - once with a tungsten WB and once again with a daylight WB and the blend the results using a mask. The overall merge in Photomatix will be identical and, if you use the same tone mapping settings, you will get the same result for the two images, just with different color casts.

The interval that you used between the ends of your exposures probably need to be expanded slightly. There is a lot of banding and clipping artifact in your Affinity Photo merge indicative of clipping in the source images.

Kirk


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New to 80D - Loading Raw into Photomatix Pro v 4 = purple
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