New Nik Collection 4 by DxO - New Features Reviewed in Detail

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HI, I’m PhotoJoseph. DxO has just released the latest version   of the Nik Collection, DxO Nik Collection 4. As in years past, DxO asked me to join them   on their virtual press tour to show off the  newest Nik Collection 4 features to the global   press — and I’d like to share that demo with you. If you’re a long time user of the Nik Collection,   then you may recall its history. The software  was originally developed by Nik Software in the   late 90s, and then acquired by Google in 2012.  Unfortunately Google didn’t update it at all, but   fortunately, DxO Labs acquired the software from  Google in 2017, and have been working to modernize   it, adding new features and capabilities. In this release, we see the first of a complete   rewrite of two of the apps — and they truly are  standalone image editing apps that also happen   to work as plugins to Photoshop, Lightroom, and  other hosts. The first two written-from-scratch   tools are Viveza and Silver Efex Pro. These  two plugins are what I’ll focus on today,   showing off their impressive new capabilities  that are only possible as part of this rewrite.  As Nik Collection continues to develop, you will  of course see these new capabilities appear in the   other tools. That doesn’t mean however that the  other apps were ignored in this update — quite the   contrary, as you’ll see whole new ways to use the  rest of the Nik Collection plugins — including HDR   Efex Pro, Color Efex Pro, and Analog Efex Pro — in  both Photoshop and Lightroom. Let’s get started.  Let’s start in Photoshop. If the Nik  Collection Selective tool is closed,   then to open it again – go to the File  menu, Automate – Nik Selective Tool 2.   From here you have access to all of the different  plugins and I’m going to start with the Viveza 3.  The first thing you’ll notice is the new  refined interface. While the layout is   the same with your presets on the left, your  Compare and Zoom controls on the top and all   of the filter effects on the right hand side,  the overall look and feel has been modernized.  Viveza is both a Global Adjustment Editor  as well as a Local Adjustment Editor. For   example under Global, if I adjust the  brightness, that is of course adjusting   the brightness of the entire image. But if  I scroll down, you’ll find the selective   adjustments where we have the Control Points  which is where the Nik collection really shines.  Before I show you what’s new with Control Points,  let me set you up with a bit of a backstory,   just in case you’re not familiar with how  Control Points or U-Points already work.   The way that a U-Point works is it builds a mask  in real time based off of the chrominance and the   luminance of wherever you drop the control point –  meaning that if you drop it on something that is,   let’s say, dark red, then anything within  the masking area that is similarly dark and   similarly red will be part of the mask. And by  doing that, you immediately create a real-time   mask that is really very, very accurate  and very smooth and very usable.  However, in the past, if you wanted to  refine that mask, you really couldn’t.   And so, what we came to do was use something  that we called Negative Control Points.   What we would do is drop a control point  on an area that we wanted to protect   and then adjust nothing in that control point.  This would effectively protect that area from   whatever the other Control Points nearby had done. And this is really good. It actually works   really really well, but it certainly  isn’t very intuitive and of course,   it doesn’t solve every problem. So, now with  Nik Collection 4 and these new adjustments,   we have the ability to refine what the Control  Points selected area is. Let’s have a look.  I’ll start by adding a control point to his  shawl. Notice that his robes and a shawl are   similar colors but not exactly the same. So, let’s  go ahead and grab a control point, drop it onto   the shawl – make it a little bit bigger and then  I’ll scroll down some more and make an adjustment.  I’ll start by just darkening this. Notice  that while the shawl itself is getting darker,   so is the robe around it. Not as much, of  course, but it is definitely being affected.  Now, the way that we know exactly what is and  is not being affected is to enable the Mask View   and the Mask View shows us the mask that’s being  created in real time. If I grab this control point   and move it around, you can see how that mask  would be created based off of wherever I drop it.   And again, while dropped here it is basing  the mask off of the chrominance and the   luminance of this area that’s selected. But  of course, as we can see, it is selecting   some of the surrounding image as well. We now have a new set of sliders called   Color Selectivity. From here, I can expand or  contract the luminance and the chrominance range.   For example, if I take the luminance  and I start to drag it to the right   and then the chrominance and drag it to the  right, you’ll see how the range is contracted.  I’ll bring it all the way up and you can see  just how precise this mask can be. I can select   something very very specific using this tool. I’ll  take the luminance slider and drag it back to 50%   where we started as well as to the chrominance  and then I’ll start to drag them further down.  As I get closer to zero, notice how the range of  what’s being selected continues to grow. And in   fact, if I take the luminance and the chrominance  all the way to zero, then the mask ceases to be   a mask. It is now a simple radial gradient. This may not seem like that big of a deal,   but it kind of is. If you’ve been using the  Nik Collection for a long time, then like me,   you may have often wished for the ability to do  a simple radial gradient instead of having to   apply the effect to a mask. Now we can do that. But for now, let me go ahead and reset this and   what I want to do is try to refine this mask so  it primarily selects the scarf and as little as   possible selects the robe. There’s no right or  wrong way to adjust this, it really is just a case   of dragging the sliders back and forth and trying  to find just the right combination of settings.  As you can see, you can start to get quite  precise with this and as I hide the mask   and now adjust this, you’ll see that we  are primarily just adjusting the shawl.  Alright, that’s a pretty straightforward example  of this, but now let’s do something that’s a bit   more complex. Take a close look at his beard  – notice that his beard is – it’s a little bit   weathered and aged as – well, as it does happen  – and I want to select just his beard and I want   to brighten it up. I’m going to make it a little  bit brighter and actually de-yellow it a little   bit by adding a little bit of blue into there. Now, to select the beard itself and not select   the smoke, it’s quite a trick. Imagine trying  to do this with a Magic Wand tool or a brush   or a pen tool or anything like that – using  traditional selection tools on this would   be almost impossible. But with the U-Point  technology, this becomes really really easy.  I’ll go ahead and zoom into his beard  and then grab another control point   and just drop it here. Before I make any  changes, I’m going to switch back over to   Mask View and as I drag this around, I want  to point out the importance of getting the   mask in the right position to start with. For  example, right there – that’s the wrong position.  We can see that the hairs themselves are darker  – indicating that those are not selected,   but the area behind the hairs is brighter  – indicating that it is selected. Yet if I   move this just a tiny bit, we’ll find a position  where the hair has become the primary selection   and everything else is secondary. So, this is  great! This is a really good start, but of course,   the smoke itself is still pretty selected. So now I’ll go down to my luminance and   chrominance color selectivity sliders and tweak  these a little bit to refine that selection.   There we go – that’s pretty good. We’ve got  just the beard there and none of the smoke.   Of course, we only have part of his beard here and  while I could potentially just expand this to make   it bigger to select more of the beard, another way  to go about doing this is to use multiple Control   Points using the same settings that I’ve already  dialed in to select other parts of the beard.  To do that, I’ll hold down the option key and  then drag this control point over, duplicating it,   and then I’ll position it where I want. I’ll do  that again on the mustache – and then on this part   of his beard here. Each one of these can now be  individually adjusted if needed to further refine   the mask. But this is looking pretty good. Okay, at this point, I now have four Control   Points over his beard and then the additional one  over his shawl – that’s a total of five – which   isn’t that many – but imagine if you will that you  were doing this for a while and you built up to   dozens or even hundreds of Control Points  – pretty quickly, these are gonna start to   become a bit unmanageable. It’s gonna be hard to  understand or remember which one is which. So,   we now have the ability to rename Control  Points directly in the Nik Collection interface.  I’m actually going to start by grouping all of the  beard ones together and then naming that “Beard”.   Here you can see the Control Points that I’ve  already created. I’m going to go ahead and command   click on these additional four to select them –  so now all four of the beard ones are together   and then I’ll click the Group button and then  double click the name and call it “Beard”.  I’ll do the same to this control point here and  call that one “Shawl”. So now I have these two   individual Control Points or groups of Control  Points named so that I know exactly what they are.   I’ll get out of the Mask View and let’s zoom back  out – and now make an adjustment to the beard.  In this case, I’m going to take the brightness  and take it up a bit – and then I’ll take the   blue slider and add a little bit of blue in  there to counteract the yellow. And pretty   quickly in there, we have an incredible  before and after – all done without having   to use a single brush. So, that’s great. The ability to refine a control point and   then rename it is absolutely huge. Next I want  to show you how I can reuse these Control Points   on another image. Let’s say that I’ve got another  photo very similar to this one and I want to apply   the same corrective effects that I’ve just done  here. Well, I can save this as a preset, but what   about those Control Points? Let’s have a look. Now when you click on Save Preset,   you’ll find a new option “Save With Control  Points”. I’ll go ahead and name this preset   and with Save With Control Points enabled,  that means that the preset will have those   Control Points saved as part of it. Now, for those of you that were really   advanced users of the Nik collection in the past  may have known that you actually could do this   before but you had to know the secret handshake  to be able to save those Control Points. Now   it’s a UI element. Just click the box to save  those Control Points along with the preset.  Now that I’ve done that, I can reuse  this same preset on another image.   I’ll go ahead and apply this here then go  to another photo, bring up Viveza again,   go to my custom presets and apply it. Now, of course, the Control Points   here aren’t necessarily going to line up  exactly where they did with the other image.   So I can simply go in here and drag  these around to reposition them,   including the beard one, of course, and if  I wanted to be really accurate about it,   I probably should zoom in close and re-enable  the mask view, but you get the idea.  From here, I can easily reposition the  Control Points and get them exactly as I need.   And of course, if you ever got confused  as to which control point was which,   you’ll find here the names that we had  added before – for both shawl and beard.  I’m going to back out of here and show  you another completely new feature.   I’ll open a new photo – I’ll select this one  here which is a RAW file, which means of course,   this is going to open in ACR or Adobe Camera RAW. From here, instead of opening it as pixels, I’m   going to click on this triangle and choose to open  it as an object. By opening this image as a smart   object, this means that any Nik filter that I  applied to it will get applied as a smart filter.   This means that I’ll be able to go back into that  filter at any time and totally non-destructively   make changes to it as often as I want. But this time, instead of just applying a single   filter, I’m going to apply multiple filters at  once using one of the new meta presets. Check this   out. At the bottom of the Nik Collection Selective  tool, you’ll find a list of new meta presets.  Meta presets are multiple presets assigned at  once. These are predefined groups of presets   that are using multiple filters indicated by  the colorful icons here that tell you which   tool is being applied and there’s also  a description next to each one of these   that explains what it will look like. I’m going to use this one called Golden   Haze. When I click on that, it’s  going to apply both Color Efex Pro   and Viveza to this photo. And again, because this  is a Smart Object, these filters are being applied   as Smart Filters – meaning I’ll be able to go  back in and readjust either of these individually.  Notice too that we never saw the Nik interface.  These plugins are applied without ever launching   the UI. And now that I have this applied, you’ll  see the two filters here – there’s Color Efex Pro   and Viveza and if I want to make a change to one,  I simply double click on it to launch the filter.  Now that we’re in Viveza, you’ll see the  Viveza effect only – it is not combined   with the other filter. So, here we’re seeing  just what Viveza has done, and in this case,   I want to darken the image as well as make it  a little bit less yellow – a little less warm.  To do that, I’m going to use two more new  features in Viveza. The first is selective   tones. We now have highlights, mid-tones shadows  and black point adjustment within Viveza.   I’ll take the mid-tones on this image and  drag them down – make them really dark   and then I’ll use the new white balance shifting  tool to shift the color temperature towards cool.  Now that I’ve done that the way I want, I’ll  click Apply and this is going to re-render back   into Photoshop combining it with the Color Efex  Pro effect and of course, rendering on top of the   original RAW image. And of course, because these  are smart filters being applied to a smart object,   these are re-rendered all the way down  from the base pixels – meaning it’s a   totally non-destructive workflow and again,  any change that I made is reprocessed all   the way from the beginning, ensuring  the best quality all the way through.  Next, let’s take a look at something in  Lightroom. I want to apply a series of   Nik Collection filters to this first photo and  then apply the same effects to this photo here.  Now, as a Lightroom user, you’ll know  that you have the ability to copy and   apply settings from one photo to another. This  is fantastic. If you are a wedding photographer   or a travel photographer or really anybody  who’s trying to create a consistent look and   feel across multiple images, then this ability to  copy and paste the settings is absolutely huge.   Of course, you probably also know that as  soon as you introduce a third party filter,   this whole system breaks. You cannot  copy and paste the third party filter   from one photo to another – except  that now you can. Let me show you how.  I’ll start by applying a couple of filters to this  photo here. I’m going to choose to edit this in   Color Efex Pro 4 and from here, I will of course  need to convert this from a RAW file into a TIFF,   so I’ll go ahead and let Lightroom do  that. And then here in Color Efex Pro 4,   I’m just going to apply a quick preset.  I’ll use this lavender one here.  So, there’s the before and there’s the  after. I’ll go ahead and save that.   Color Efex Pro 4 has now been rendered into  this TIFF file and I want to add a second   effect. In this case, I’ll go into Analog  Efex Pro – and I’m going to edit the original   this time, meaning the original TIFF  not the original RAW file of course,   so that I’m not duplicating and having  multiple TIFF files in Lightroom.  From here, I’ll choose another preset –  how about Classic Camera 7 which is going   to brighten up the image a little bit and add a  little bit of film dirt. I’ll go ahead and save   this applying that filter on top of the other  filter back into the TIFF file in Lightroom.  So, there’s the combined result of those two  effects. Now, again, I want to apply this same   look to this photo here. So, I’ll go back to  the photo I was just working on, right click   and from the Export menu, choose the new  Nik Collection – copy and apply parameters.  From here, I can copy any filter that was applied  to this photo. You’ll see that HDR Efex and Silver   Efex are not available because I didn’t apply  them, but both Color Efex and Analog Efex are.  So, I’ll go ahead and click on copy, and then copy  again, copying both of those to the clipboard.   Click Okay, go to the image I want to  paste these onto, right click again,   Export – Copy and Apply Parameters and  from here, I can apply those effects.  Now, the order that we apply them is going  to matter – we want to apply them in the   same order that we did previously. So, in  this case, I’ll start with Color Efex Pro.   I’ll click Apply, and again, because this is a RAW  file, I’m going to have to let Lightroom convert   this to a TIFF file. I’ll go ahead and let that  run and Lightroom is going to render that file   out as a TIFF and then apply the filter to it. And you’ll notice here that we never see the   Nik UI. It doesn’t launch the filter; it just  applies the effect. I’ll click OK and take a   look at the image that was just created. There’s  that image with the first filter applied to it,   then right click on this TIFF file and once  again, Export – Copy and Apply Parameters and   then apply the Analog Efex Pro. And in this  case, I’ll go ahead and edit the original   again so it’s applying it on top of that TIFF. I’ll point out at this point that you could   actually have multiple images selected at  once here. This is not a copy from one and   apply to one, but you can actually copy from  one and apply to many. Now that that’s done,   we’ll see the new filtered effect there along  with the original image here – where I’ve applied   that same combination of filters and effects. For the next image, I’m going to do something   similar – I’m going to apply an original effect to  a photo that I then want to apply that same effect   or at least something like it to another one.  But in this case, I’ll use presets to do that.  I’ll go to this photo here and then I’m  going to jump into the new Silver Efex Pro 3.   Once again, I’ll let Lightroom render out a TIFF  file so I can apply this filter. As you can see,   Silver Efex Pro has the same new look that we  saw in Viveza. With our presets on the left,   the Compare and Zoom tools at the top and  of course, all the adjustments on the right.  The first thing I want to do here is show you the  new ClearView slider. This is the same ClearView   function that is in Photo Lab 4 now brought  into Silver Efex Pro. The ClearView function   is fantastic. If you’ve never used this before, it  allows you to cut through haze or mist better than   you’ll see in any other tool. Check this out. As I take this intensity slider up, you’ll see   that we are literally just cutting right through  all that smoke and haze to give us a much crisper   cleaner image. Now, at this point notice I’ve  taken the intensity all the way up to 100   and if I compare this back and forth, I  think you’ll agree with me that this looks   100% believable. This does not look like it was  a processed image and I think you’ll also agree   with me that while there are tools similar to  this in other apps, usually if you take that   slider up a little bit too high, the image looks  over processed or overcooked very very quickly.   In fact, I’d like to point out that you can often  tell when a photographer has just discovered one   of those sliders because they usually crank  it up way too high and you’re going “Oh yeah,   look at what filter you just figured out”. Anyway, here, ClearView looks fantastic even all   the way up to 100. The next thing I’ll do is take  advantage of another new Silver Efex Pro feature   and that is Film Grain. This new selection of  film grains may actually look familiar to you.   If you’re familiar with DxO’s film pack,  then these are all the same meticulously   recreated film grains from the film pack app. You now have a collection of very accurate,   realistic film grain patterns that you can select  inside of Silver Efex Pro that are all created   from high resolution scans of actual films.  These look totally beautiful and believable.  I’m going to choose an old favorite of mine from  back when I used to shoot film – Kodak T-Max 3200.   I always loved the really high grain pattern of  this high ASA or ISO film, so I’m going to go   ahead and crank this all the way up and use that. Now, like I said I want to apply this same look   to another image. So I’ll go ahead and save a  preset – oops, I forgot to save a preset. Now,   how many of us have done this before – you  have all the intentions to save that look as a   so you can apply it to another image, but as  you saw, I clicked apply without saving it   as a preset. What am I going to do? Well, let  me show you. We now have the ability to recall   the last effect applied – check this out. I’ll go to this image next, right click on   it and choose edit in Silver Efex Pro let it  render out a TIFF and now from the edit menu,   I can choose Apply Last Edit. That’s going to  recall whatever I had previously done even though   I didn’t save it as a preset. You’ll see – there’s  my intensity slider on the ClearView dragged all   the way up. Let’s go ahead and back that off a  little bit and of course, there’s the film grain,   T-Max 3200 with the grain size cranked up as well. So again, even though I forgot to save that as a   preset, I’m able to recall the last effect  applied by simply choosing it from the menu.  That’s everything I wanted to show you in the new  Nik Collection 4. There’s more to it than that but   those are the highlights and I encourage you to  visit my website at PhotoJoseph.com/NikCollection   to learn more. From there you can also make  a purchase – you can see the prices on your   screen here whether you’re buying new or upgrading  from a previous version, there’s the retail price   as well as a special price that is valid until  June 30th of 2021. As always, thanks for watching.   Don’t forget to Like and Subscribe and if you  do decide to make a purchase, I really would   appreciate you using my links below. Those are  affiliate links and that always helps me out.  Thanks so much everybody, I  will see you next time. Bye-bye.
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Channel: PhotoJoseph
Views: 22,611
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Keywords: nik collection 4, new nik collection 4 by dxo, nik collection 4 new features, new features nik collection, nik collection, nik collection 4 by dxo, the nik collection tutorials, nik collection tutorial, new nik collection 4 review, nik collection new, new nik collection 4, dxo nik collection 4, new nik collection, nik collection 4 review, how to use nik collection, nik software 4, nik collection 2021, nik collection latest version, nik collection by dxo, nik, nik 4, dxo
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Length: 19min 10sec (1150 seconds)
Published: Wed Jun 02 2021
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