Roll

What your whole roll shares, in Open Negative Initiative. The film type, the light of your scanning rig and the conversion by hand: set on one photo, they reach every photo measured with it.

Measured Roll

Every setting in this tab is the roll's. Moved on the open photo, it reaches every photo measured with it, each keeping its own look, and one undo takes the whole roll back.

The app's own note on Measured Roll

Every setting here is the roll's: moved on this photo, it reaches every photo measured with it, each keeping its own look. A photo of the folder left out of that measurement can join it, or the measured ones can become a roll of their own.

Measured Roll

Every setting of this tab is your roll's: moved on the open photo, it reaches every photo measured with it, each keeping its own look. The block says how many photos that is.

When photos of the folder were left out of the measurement, Join the N gives them the roll's measurement and settings, their own look kept; Roll of the N makes the measured photos a roll of their own.
On a photo never measured with its roll, these settings act on that photo alone, and Prepare the Roll… measures it.
One ⌘Z (Ctrl+Z on Windows) takes a gesture back on the whole roll.

Travels: Nothing to carry: it is a gesture or a reading, not a setting.

Film Type

What the film is, for the whole roll. A colour negative and black and white are inverted from their density; a slide is already a positive: Prepare the Roll balances a roll of slides on a white or grey you click and leaves each slide's black and white at rest, and the tab shows what each one needs.

The app's own note on Film Type

What the film is: a colour negative, a slide or black and white. A slide is read as a plain RAW, its dyes never separated; Prepare the Roll balances a slide roll on a white or grey you click, its colour alone; without a click, the slides keep the camera's 5500 K.

Film Type

Negative, Positive or B&W: what your film is, for the whole roll. A negative and black and white are inverted from their density. A slide is already a positive: Prepare the Roll balances a roll of slides on a white or grey you click, the same gains for every slide, and leaves each slide's own black and white at rest.

On a slide, Source Balance holds two sliders for the colour cast, Blue ↔ Amber and Magenta ↔ Green; Density Ceiling and Dye Separation are hidden.
In B&W, Dye Separation, Balance Strength, Chroma Denoise and the flat-field's colour are hidden, with the Color tab's colour blocks.
Switching carries the density ceiling, the levels and the exposure still at rest onto the new film's own rest.
No preset and no paste ever carries it: it is what the film is, not a look.

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; no preset carries it either.

Flat-Field

Evens out the light of the rig your roll was digitised on. It runs before everything else, whatever you crop to, and describes the rig rather than the photo: Reset to Imported State keeps it, and only the block's own reset key takes it off.

USE THIS PHOTO AS FLAT-FIELD
Your rig's light, taken once. A frame of the empty light panel, shot on the same rig, becomes the mask.
Amount100%
How much to even out. Amount rests whole, behind the gear key.
Temperature+0.00
Corners back to neutral. Temperature and Tint give the corrected corners their colour back.

The app's own note on Flat-Field

Evens out uneven lighting from the scanner, whatever you crop to.

Flat-field

The Flat-field switch turns the correction on. Use This Photo as Flat-Field takes the open photo, a frame of the empty light panel shot on the same rig, as the mask; the correction then runs before everything else, whatever you crop to.

A mask is a picture of your rig's panel: taken once, it is offered to every roll after.
The app then offers to move that photo out of the library, into FlatField Presets in the app's folder.
Reset to Imported State, ⇧⌘R (Ctrl+Shift+R on Windows), keeps a photo's flat-field: it describes the rig, not the photograph. The block's own reset key takes it off.
A contact sheet never takes a second flat-field from its roll.

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Flat-Field" box is ticked.

Mask

Which mask evens out the light, among the masks on this computer. The menu shows while the switch is on; with None selected, the stage waits for a mask.

With no mask yet, the block says so: take a frame of the empty light panel, shot on this rig.
The Valoi 35v1 mask is listed only on a photo already on it.
Missing mask means this photo names a mask this computer does not have.

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Flat-Field" box is ticked.

Amount

How much of the mask's unevenness to take out, resting whole: a mask is a picture of your rig's own panel. It waits behind the gear key, Show Amount and Color, greyed until a mask is chosen.

Amount: 0% to 100%, at rest 100%

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Flat-Field" box is ticked.

Temperature and Tint

A uniform correction does not always stay neutral once printed. Temperature, blue to yellow, and Tint, green to magenta, give the corrected corners of your photo their colour back.

Behind the gear key, greyed until a mask is chosen.
Turning the switch off and on again keeps them where you left them.
Hidden in B&W.

Temperature: -1.00 to +1.00, at rest +0.00
Tint: -1.00 to +1.00, at rest +0.00

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Flat-Field" box is ticked.

Load, Rename, Folder

Behind the gear key: Load… brings a mask in from a picture of the empty light panel, Rename names the mask in use, Folder opens FlatField Presets, and Apply to Selection lays this flat-field on the other photos you selected.

Rename is greyed until one of your own masks is chosen.
Apply to Selection is greyed until another photo is selected.

Travels: Nothing to carry: it is a gesture or a reading, not a setting.

Source Encoding

Only for a file that names no colour profile, such as a scanner's raw TIFF. Say how it was written, and the photo is read again.

The app's own note on Source Encoding

This file names no color profile, so it is read as sRGB. A scanner's raw output is often linear: pick what the scanning software wrote, and the photograph is read again.

Source Encoding

Only for a file that names no colour profile, such as a scanner's raw TIFF. Read as sRGB, Linear or Display P3: pick what the scanning software wrote, and your photo is read again.

Until you pick, such a file is read as sRGB.
A greyscale file offers sRGB and Linear only.

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Source Encoding" box is ticked.

Source Balance

The conversion by hand, folded until you open it. Three channel gains in EV, where the roll's measurement put them; on a slide, two sliders for its colour cast, Blue ↔ Amber and Magenta ↔ Green.

Red ↔ Cyan+0.00 EV
One gain per channel, in EV. Measure set them for your roll; on a negative the channel's own colour is at the left.
Green ↔ Magenta+0.00 EV
On a slide, two sliders. Blue ↔ Amber and Magenta ↔ Green, for its colour cast, where the white you picked set them.
Blue ↔ Yellow+0.00 EV
Back to the roll's. A double click returns +0.00 EV; the block's reset returns the roll's own gains.

Source Balance

The conversion by hand: each channel's gain in EV, before the inversion. Measure set the three for your roll, and they open there. On a negative a slider reads Red ↔ Cyan, Green ↔ Magenta, Blue ↔ Yellow: the channel's own colour sits at its left end.

On a slide, two sliders take their place, Blue ↔ Amber and Magenta ↔ Green, each moving the three gains together and holding the other: they open where the white or grey you picked in Prepare the Roll set them.
On a roll of slides, a move lands on every slide as a shift from its own measure.
A double click returns a gain to +0.00 EV; the block's reset returns the roll's own gains.
Auto White Balance never writes here: it writes Temperature and Tint, in the Color tab.

Red ↔ Cyan: -3.00 EV to +3.00 EV, a double click returns +0.00 EV
Green ↔ Magenta: -3.00 EV to +3.00 EV, a double click returns +0.00 EV
Blue ↔ Yellow: -3.00 EV to +3.00 EV, a double click returns +0.00 EV

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its white balance is set to Copied WB.

A slide's balance

A slide's colour comes from a white or grey you click: in Prepare the Roll, step 3 reads it on one slide and gives the whole roll the gains that turn it neutral, its brightness kept. Each slide's black and white points stay at rest.

Without a click, your slides keep the camera's 5500 K.
To move a slide's colour by hand, open Source Balance: Blue ↔ Amber and Magenta ↔ Green.
Auto White Balance, in the Color tab, reads a slide as it stands.

Density Ceiling

The top of the density axis the three windows are placed on. A camera RAW rests at 3.500 on a track to 4.000; a scanner file rests at 2.097 on a track to 2.600. Hidden on a slide.

The app's own note on Density Ceiling

Reveals more detail in the densest parts of the negative, at the cost of more visible noise there.

Density Ceiling

The top of the density axis, which sets how much room the densest part of your negative gets. Raising it brightens and reveals more there, at the cost of more visible noise.

The track and its rest depend on the file: a camera RAW runs further than a scanner's file.
A double click and the block's reset return the rest your file calls for.
Hidden on a slide.

Ceiling, camera RAW: 2.097 to 4.000, at rest 3.500
Ceiling, scanner file: 2.097 to 2.600, at rest 2.097

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Density Ceiling" box is ticked.

Per-Channel Levels

Each channel's window over its own histogram, in density. Measure placed them for the whole roll; this is where to correct one by hand. On the Scanner face the block is hidden.

Per-Channel Levels

Each channel's window, R, G and B, over the histogram it is placed on: five handles on a density track, Black, Shadows, Midpoint, Highlights and White. Measure placed them for your roll; this is where to correct one by hand.

On a negative the track starts at −0.35, so a black point can sit below zero.
A double click returns that handle alone; the block's reset returns the roll's window.
An 8-bit source is flagged under the histogram: 256 levels per channel.
Hidden on the Scanner face.

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its white balance is set to Copied WB.

Dye Separation

Unmixes the film's own dyes, so colours separate while greys stay where they were. The family names the dye set; the dose is yours. Hidden in B&W, on a slide, on RGB passes and on the Scanner face.

The app's own note on Dye Separation

Subtracts each dye's spill into the other two channels, so colors separate while greys stay put. The family names the film's dye set; the dose depends on the light and sensor it was captured with.

Dyes

The dye set your film was made with: Kodak, Fuji or Generic C-41, ECN-2 for cine negative, or E-6 for slide film. Until you name one, a negative uses Generic.

The family names the stock, not a look: a reset keeps it, while the dose returns to rest.

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Dye Separation" box is ticked.

Dye separation

Subtracts each dye's spill into the other two channels, so the colours of your photo separate while greys stay where they were.

A grey ramp looks the same at every dose: judge it on colours and skin.
The spill depends on the light and the sensor the roll was captured with, which is why the dose is yours.
Hidden in B&W, on a slide, on a frame shot in RGB passes and on the Scanner face.

Dye separation: 0 % to 200 %, at rest 60 %

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Dye Separation" box is ticked.

Balance Strength

How much of each photo's Auto White Balance correction Temperature and Tint take. Each photo keeps its own correction; the share is the roll's. Hidden in B&W, on RGB passes and on the Scanner face.

The app's own note on Balance Strength

The share of Auto White Balance's correction Temperature and Tint take. Each photo keeps its own correction; the share is the roll's.

Balance Strength

The share of Auto White Balance's correction that Temperature and Tint take. Each photo keeps its own full correction; the share is your roll's, and moving it re-doses every photo the key balanced.

On a photo no key balanced, it moves nothing.
Hidden in B&W, on a frame shot in RGB passes and on the Scanner face.

Strength: 0 % to 100 %, at rest 67 %

Travels: It is the roll's: moved on one photo, it reaches every photo measured with the roll, and one undo takes them all back. A paste of settings never carries it; a preset carries it when its "Color (Temperature, Tint)" box is ticked.