However, I find the standard Adobe recovery to be more effective for many extreme highlight situations. It seems to work quite well for images that have a lot of mid-tones in them.
What they can do, however, is prevent you from blowing out highlight areas in post-production in a different way from the standard Adobe method. That sort of voodoo simply isn't possible after the fact. Of course, RNI cannot completely recover lost data because of bad exposure. Blowing to pure white is a single digit on a digital sensor and leaves the pixel completely unrecoverable. The roll-off between detail and blown highlights is softer. As we know, negative film holds highlights in a very different way from how digital sensors do. You can work on one color without affecting the overall look too much.Īnother of the flagship features of All Films 5 is the "film-like highlight compression." RNI has included a function in each of their "films" that emulates the tonal response of negative film. While packs such as the now-discontinued ones from VSCO have made use of a mix of profiles, camera calibration, and HSL in the past to achieve their looks, All Films 5 uses only the profile, which gives you complete control after applying the preset. By jumping down into the untouched HSL sliders, it's easy to adjust any colors that might not fit your taste. While most of the films in RNI's All Films 5 are fairly subtle in their application, sometimes, you might lose more saturation in, for example, lips than you might like. Since they leave the sliders alone, all your other adjustments will be left in place, and the new profile applied underneath.Īs "film simulation" presets tend to push colors quite hard to get where they want to go, this can sometimes result in unpleasant renderings with certain colors or color combinations.
Not only that, but if you decide you'd like to change the underlying profile, later on, all you need do is click another of All Films' presets. However, for me, the greatest benefit is that the sliders are left alone. Thus, it is possible to build your own presets on top of the base that All Films 5 provides. That means if you're a wedding photographer who works with Canon and has a second shooter working with Sony, it's much easier to get a consistent look across cameras with a single click. They can thus achieve a higher level of similarity across camera models. What this means is that rather than messing with your sliders in Lightroom, All Films 5 is actually getting access to Adobe's raw pipeline and interpreting the data from there.īasically, what this means is that RNI is not trying to manipulate the Adobe Standard or any other profile into looking the way they want.
Hands down the best feature of All Films 5, in my opinion, is that all of the changes are done within the "Creative Profiles" Lightroom supports. For those who like to use a preset as a base for their post-production, this might just be a pack of presets you can get behind. For those of our readers in the "all presets are bad, do your own post-production" camp, this isn't a review for you.
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I'll dig into the flagship features of creative profiles, native fading, and highlight protection to see if they are all they're cracked up to be.Īs with all preset packs, it's not for everyone. I've spent the last couple of months experimenting with it and will share my experience with it so far. Late last year, Really Nice Images released their latest Lightroom preset pack, All Films 5.
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