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<feed xmlns="http://www.w3.org/2005/Atom">
    <link href="https://www.projects-software.com/tutorials?sAtom=1" rel="self" type="application/atom+xml" />
    <author>
        <name>Photography Software made in Germany</name>
    </author>
    <title>Blog/Atom feed</title>
    <id>https://www.projects-software.com/tutorials?sRss=1</id>
    <updated>2026-08-27T06:15:56+02:00</updated>
    
        <entry>
            <title type="text">Motion Algorithms</title>
            <id>https://www.projects-software.com/tutorials/motion-algorithms</id>
            <link href="https://www.projects-software.com/tutorials/motion-algorithms"/>
            <summary type="html">
                <![CDATA[
                
                                            Choose from any of the eleven Motion Recognition algorithms and compare their effects in Post Processing. Tip: Double-clicking sets an algorithm back to its standard value. Long-time exposure: This process determines the average for every pixel in a shot to simulate a type of ...
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                 Choose from any of the eleven Motion Recognition algorithms and compare their effects in Post Processing. Tip: Double-clicking sets an algorithm back to its standard value. 
  Long-time exposure:  This process determines the average for every pixel in a shot to simulate a type of long exposure. 
  Remove Motion (Multipass):   &amp;nbsp; The motion is determined through a flexible median mask based on colour channels and brightness of individual pixels. Since this process is well suited to most image sequences, it has been set as the standard.  
   Remove Motion (Brightness)   :  Pixel brightness is the single component of this calculation, which makes it appropriate for black &amp;amp; white sequences.   
    Remove Motion (Colour):   &amp;nbsp; This technique is exclusively based on pixel colour and is best suited to particularly colourful sequences.    
     Remove Motion (Matrix):   &amp;nbsp; The matrix process uses a congruence matrix rather than a median mask, allowing it to identify fine movements and differentiating it from other algorithms.     
      Remove Motion (Very Soft):   &amp;nbsp; The moving objects are removed by means of a standard deviation calculation, which is most suitable for images with moving clouds.      
       Add Motion:  &amp;nbsp;The opposite of motion removal. All motion in the sequence will be determined and added based on pixel brightness.       
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The Magnifying Glass of NEAT projects</title>
            <id>https://www.projects-software.com/tutorials/the-magnifying-glass-of-neat-projects</id>
            <link href="https://www.projects-software.com/tutorials/the-magnifying-glass-of-neat-projects"/>
            <summary type="html">
                <![CDATA[
                
                                            On the right-hand side (at the very top) in Post-processing you will find the 1:1 magnifying glass. The magnifying glass shows you the area the cursor points to in a 1:1 pixel view. When clicking on the magnifying glass the new compare-window will appear, comparing your edited...
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                 On the right-hand side (at the very top) in Post-processing you will find the 1:1 magnifying glass. The magnifying glass shows you the area the cursor points to in a 1:1 pixel view. 
 When clicking on the magnifying glass the new compare-window will appear, comparing your edited image and the original image. It simultaneously gives you the opportunity to examine the comparison through the magnifier display. 
 To keep the magnifying glass on a specific point, press down on the “L“-key while you move the cursor over the screen. To free the fixated area of the magnifying glass, press down on the “L”-key once more. 
 Click into the image area of the magnifying glass to change between the display-mode “divided before/after comparison” and “direct before/after comparison”. 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Neat projects filter presets</title>
            <id>https://www.projects-software.com/tutorials/neat-projects-filter-presets</id>
            <link href="https://www.projects-software.com/tutorials/neat-projects-filter-presets"/>
            <summary type="html">
                <![CDATA[
                
                                            Locating presets can be difficult when you have imported presets or created many additional looks. If you enter “filter” into the search bar, only presets relating to “filter” will be shown, for example “Gradient filter” or “Colours Red filter”.
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            </summary>
            <content type="html">
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                 Locating presets can be difficult when you have imported presets or created many additional looks. If you enter “filter” into the search bar, only presets relating to “filter” will be shown, for example “Gradient filter” or “Colours Red filter”. This makes the search a lot easier. 
  Name Favourites  
 Have you found certain presets that you love and instantly want to have handy? Click on the top right star in the preset-window and add the setting to your favourites. By clicking the button, previews of all of your favourite presets will be displayed. 
  Save Undo-Points  With the &quot;Save Undo-Point&quot;-function you can save your edits at different intervals. This way, you can view them later in the Timeline and pick up where you left off. 
  Timeline  In the Timeline you can view all saved Undo-Points and access them directy. 
  Image Sequence View  With the image sequence view you can see all sequences of your image at one glance. 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Neat projects variation browser</title>
            <id>https://www.projects-software.com/tutorials/neat-projects-variation-browser</id>
            <link href="https://www.projects-software.com/tutorials/neat-projects-variation-browser"/>
            <summary type="html">
                <![CDATA[
                
                                            The variation browser allows you to choose from different versions of a function and is primarily operated using the mouse: Shifting the segment: hold down the left mouse button before moving the mouse Zooming in
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            </summary>
            <content type="html">
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                 The variation browser allows you to choose from different versions of a function and is primarily operated using the mouse: 
 
 Shifting the segment: hold down the left mouse button before moving the mouse 
 Zooming in: Scroll up 
 Zooming out: Scroll down 
 Choosing a variant: double left-click on the image 
 Setting a referent: left-click on the image 
 Comparison with referent: hold down the right mouse button over the image You can find the corresponding short cuts under “menu” – information – Short-cuts. 
 
 Click on the symbol and NEAT projects 2 professional will show you the entire preview gallery of that chosen category. Zoom in on the variant that you want to compare and set a reference image. 
 You will be able to put this reference image on any image with a left-click of the mouse. You can fade in this reference image into the other image by holding down the right mouse button. The border surrounding the image in a green dashed line shows you the reference image so that you can make the comparison. In this way, you can compare any two variants in the browser directly and visually. 
   Example: &amp;nbsp;As a reference image you choose the variant “Natural Original” and mark the image with a left mouse-click. The green dashed line shows that you have chosen this image. 
 Now, you look for a different preview image. In this case, preset „Natural Shadow“ has been chosen. 
 Right-click on the preset „Colours Intense” and the reference preset will fade in. As soon as you let go of the mouse button, you will see the „Colors Intense” again. This is how you simply and purposefully compare looks with one another before choosing the ones you like best. 
  Selection of your desired variation: &amp;nbsp;With a double-click you chose the variant. The adjustment of the relevant program settings will be carried out automatically. 
  Tip:  Your current choice will be set automatically as your reference image when you open the window. 
  Deleting a variation: &amp;nbsp;If you want to delete a variation move the cursor over it and click the [Del]-button. After that, click on the “compress”-button. If you want to display the deleted variations again click on “reset”. 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Cutout Changing the Background Image</title>
            <id>https://www.projects-software.com/tutorials/cutout-changing-the-background-image</id>
            <link href="https://www.projects-software.com/tutorials/cutout-changing-the-background-image"/>
            <summary type="html">
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                                            To move the penguin to a warmer place, we select &quot;Change Background&quot; in the post-matting-menu. After matting, a file browser will open and you will be able to search for the background image that will serve as the background for the penguin:
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            </summary>
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                 To move the penguin to a warmer place, we select &quot;Change Background&quot; in the post-matting-menu. After matting, a file-browser will open and you will be able to search for the background-image that will serve as the background for the penguin: Navigate to your preferred background-image, select it and then click &quot;Open&quot;. 
 Now, a dialogue opens and you will be able to choose the size of the background-image individually. You can choose between &quot;Auto&quot;, &quot;As original canvas size&quot; and &quot;As new base layer size&quot;. To select a different background-image, click on the button in the dialogue-box. To confirm your setting click &quot;OK&quot;, to cancel the process click &quot;Cancel&quot;. 
 Afterwards, the object will be displayed in front of the new background: 
 If you click on the image now, hold down the mouse button and move the mouse back and forth. Like this, you will be able to move the object, in this case the penguin, as you like. If you move the object a little, so that the edges of the image are displayed, you can also enlarge or reduce the size of the object by moving the cursor to the corner of the image until the arrow shown appears: 
 Hold down the left mouse button and move the mouse to change the size. When you move the cursor to an area outside this border, the following icon appears: 
 Then, hold down the left mouse button and move the mouse to rotate the object at any angle. Theoretically, you could turn the penguin upside down. If you are satisfied with the size, angle and position of the object, click on the “OK”-button in the middle of the image: 
 The adjusted image now appears in the user interface. 
 In this case, the penguin was reduced in size and moved to the left. In addition, the cropping result, i.e. the penguin with a transparent background, is present in the area of the layers (red arrow in the image). Like this, you can proceed with the cropped object afterwards (edit, save etc.) if you don’t like the selected background after all. To display the penguin without a background image, simply deactivate the background layer by clicking on the “eye&quot;-symbol. 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Cutout: Cropping Intermediate Areas of an Object Using the Edge Tool</title>
            <id>https://www.projects-software.com/tutorials/cutout-cropping-intermediate-areas-of-an-object-using-the-edge-tool</id>
            <link href="https://www.projects-software.com/tutorials/cutout-cropping-intermediate-areas-of-an-object-using-the-edge-tool"/>
            <summary type="html">
                <![CDATA[
                
                                            Often, you are confronted with objects that have elements of the background situated within them that need to be removed. Typical examples are photos in which people have their hands placed on their hip
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                 Often, you are confronted objects you that have elements of the background situated within them that need to be removed. Typical examples are photos in which people have their hands placed on their hips, or as in our example below, on their heads or hats: When cropping such an image using Inside/Outside Edge Matting, the outcome becomes problematic due to the fact that the areas between the arms, head and the hat are not removed, but remain in the cropped result. 
 With the new edge-tool in CutOut 9 professional you can easily remove these areas by outlining them individually after drawing the inside and outside outline around the entire person. 
 The result of this edge definition speaks for itself: 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Cutout curve window: Curvature of the mask</title>
            <id>https://www.projects-software.com/tutorials/cutout-curve-window-curvature-of-the-mask</id>
            <link href="https://www.projects-software.com/tutorials/cutout-curve-window-curvature-of-the-mask"/>
            <summary type="html">
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                                            You can change the curvature of the cropping-mask via the curve window. By clicking on the curve, additional adjustment points can be added so that the curve can be variably adjusted.
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                 You can change the curvature of the cropping-mask via the curve window. 
 By clicking on the curve, additional adjustment points can be added so that the curve can be variably adjusted. 
 This makes it possible to adjust the display-strength of the foreground-pixels and the background-pixels as required. 
 The foreground-pixels are displayed on the right side of the curve and the background-pixels on the left side. 
 The vertical axes determine the strength or transparency with which the respective pixel-area is displayed in the image. 
 &amp;nbsp; 
 &amp;nbsp; 
 If a curve point is moved downwards in the vertical direction, the transparency of this pixel area increases.. 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Cutout Settings &amp; Parameters: Chromakey-matting</title>
            <id>https://www.projects-software.com/tutorials/cutout-settings-parameters-chromakey-matting</id>
            <link href="https://www.projects-software.com/tutorials/cutout-settings-parameters-chromakey-matting"/>
            <summary type="html">
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                                            If the chromakey-matting result has flaws, you can use the following parameters to refine the result: Feather Brush Adds individual pixels to the mask and ensures a softer transition from the foreground to the background.
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                 If the chromakey-matting result has flaws, you can use the following parameters to refine the result: 
  Feather Brush  Adds individual pixels to the mask and ensures a softer transition from the foreground to the background. 
  Optimize Edge  Optimizes the mask around the edges of the cropped object. 
  Reduce Reflected Color  Sometimes, the background reflects its colors into the foreground. This may happen when a person wears white clothes and stands in front of a blue background, which can result in the clothing being semi-transparent. With this option it is possible to reduce this effect. 
 But now to the practice: Let us take, as an example, the following picture, which shows a landscape with a blue sky, but crossed by some white-grey clouds. From this image, you would like to remove the entire sky including clouds. The different functions of the chromakey-matting menu will be gone through step by step with the help of this picture and, finally, it will be explained how the clouds can be removed 
 If you apply chromakey-matting to this image by clicking on an area of the blue sky with the pipette-tool as described in the Quick Start chapter, the following result will be shown: The blue areas of the sky were successfully removed, but the clouds were not. These still shine through because they are not blue, but white-grey. 
  Sensitivity  
 In the sensitivity-bar, you can increase or decrease the sensitivity of the selected color tone. If you move the left slider in the following example further to the left, the color-range that is displayed transparently expands by the displayed hue-range. To remove the clouds from the image, it might be helpful to move the left slider to the left, as even brighter blue-tones will then become transparent in the image. Then click &quot;Apply&quot; to see the result. With closer examination, this procedure seems to have yielded slight improvements: 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Cutout Matting-mode: Settings &amp; Parameters</title>
            <id>https://www.projects-software.com/tutorials/cutout-matting-mode-settings-parameters</id>
            <link href="https://www.projects-software.com/tutorials/cutout-matting-mode-settings-parameters"/>
            <summary type="html">
                <![CDATA[
                
                                            The following settings and parameters are available in matting-mode for cropping, using stroke-based-matting and inside/ outside edge matting: The polygon-tool was already explained in chapter 3.1
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                 The following settings and parameters are available in matting-mode for cropping, using stroke-based-matting and inside/outside edge matting: 
 The polygon-tool was already explained in chapter 3.1. Here is a short summary: Start with the polygon-tool for the outer selection (blue) by clicking on your image. Moving and clicking continues the selection. A right-click removes the last point and a double click-ends the selection. Then, use the polygon-tool for the inner selection . With the mouse-wheel and the lateral sliders you can adjust the angle. 
  Lasso-tool :  The lasso-tool works similarly to the polygon-tool and is used to freely select the background or foreground. You start the selection by clicking. Keep the mouse button pressed and outline the desired area. 
 When you release the mouse button, the selection is completed automatically. With the mouse-wheel and the lateral sliders you can adjust the angle. In the example, the mouse button was released before the object was completely surrounded. The tool automatically completed the selection with the shortest distance between the start and end point. 
  &amp;nbsp;Inject-tool :  You can add individual pixels to the inner or outer selection using the inject-tool. For example, select the inject-tool for the outer selection (blue) after you have defined the inner and outer selection. Then, click on individual pixels in the image that you do not think belong to the foreground object. In our example image, we will try to remove the white streaks around the hair strands. 
 Since a pixel is selected with each click you can work very precisely. When you have finished your selection, click &quot;Apply&quot; again to get an updated matting result. The white veil around the worked hair strand has now been visibly thinned. The more pixels you set, the stronger the result will be. The inject-tool for the inner selection works in the same way as the inject-tool for the Outer Selection: Click pixel by pixel on the areas of the image that are to be assigned to the inner selection and then click &quot;Apply&quot; again to see the result. 
  Note:  Since the changes made by the inject-tool are small details, you must zoom in close enough to see the difference. This is the only way to perform an exact analysis. 
 The segmentation-tool was already explained in chapter 3.3. Here is a short summary: After you have defined the inner and outer selection with another tool, you can adjust the outer and inner area via segments. Areas that do not cleary belong to either foreground or background are displayed in red. Use the outer selection segmentation-tool to click on the red areas that belong to the background and the inner selection segmentation tool to click on the areas that belong to the foreground. 
 &amp;nbsp; Brush-tool :  You can also use the brush-tool to customize the exterior and interior. After using another tool to specify the inner and outer selection, click on the outer selection brush tool (blue). By holding down the mouse button and moving the cursor over your image, you can adjust the background. You can use the inner selection brush-tool (green) to assign areas to the foreground: At the upper edge you can set the brush properties. 
  Contour-tool:  With the help of a contour-tool, you can roughly trace the edges of the inside and outside area and CutOut 9 professional automatically detects in which area the separation should take place. You can then adjust the separation area. 
 You will find these contour-tools among the well-known polygon-tools for the inner and outer selection. In contrast to the polygon-tool, with the contour-tool you only have to roughly outline the inner and outer area of the object to be cut out and do not need to be exact, which saves a lot of working time. When you select the contour-tool, you can define the brush properties at the top of the screen before you start to draw the contours. Then, your first step is to outline the outer area of the object with the contour-tool for the outer selection (blue). Then, you switch to the contour-tool for the inner selection (green) and outline the inner area. The procedure is the same as for the polygon-, brush- or lasso-tool. 
 CutOut 9 professional recognizes from these roughly selected areas which areas belong to the interior and which to the exterior. With the contour-tool, which is located between the background and the object selection, you can adjust the intermediate area, called the unknown area: 
 This makes sense in places where the calculation might be difficult when assigning areas to interior or exterior areas. In this case, the hair of the cheetah would be such an area. After moving the contour-tool over the intermediate area, the intermediate area expands from the diameter of the lower red arrow to that of the upper red arrow: At first glance, the contour-tool delivers a professional result just like the polygon-tool, but in a significantly shorter amount of time. 
 Simply outlining the edges with the help of the edge-tool is always useful if the object that is to be cropped out has particularly clear edges. If this is not the case, the polygon-tool may be more suitable. 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Cutout: Stroke-based Matting</title>
            <id>https://www.projects-software.com/tutorials/cutout-stroke-based-matting</id>
            <link href="https://www.projects-software.com/tutorials/cutout-stroke-based-matting"/>
            <summary type="html">
                <![CDATA[
                
                                            Use this method to crop images that have a white, gray, or black background. This method can also be used to crop out areas of an object that also belong to the background. First Application Example — Cropping Objects on White Surfaces Select your image from album 
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                 Use this method to crop images that have a white, gray, or black background. This method can also be used to crop out areas of an object that also belong to the background. 
 First Application Example — Cropping Objects on White Surfaces: Select your image from album-mode and click the option labeled “Cut Out” in the menu bar. 
 Section with the calculated segments: The image has now been segmented into separate sections according to their brightness levels, edges and coloration. Now click on the white&amp;nbsp; background to crop the object. 
 The object is now perfectly cropped. The selected area now shows a green tint, the background is blue. Now click on the matting-button to remove the background. Then, click &quot;Apply&quot; and choose a new background for your object. 
 Second Application Example: Combining Inside/Outside Edge Matting with the segmentation-method to flawlessly remove sections from the inside area. Select the Image you would like to work with and click the Cut Out-button. Now choose the Inside/Outside Matting method and select the inside and outside edges as usual. The cropped result now looks like this: 
 We immediately see that the sky between hat and arm still has to be removed. In addition, a small part of the arm was cut away and needs to be added again. 
 In order to incorporate the sky-area into the outside-calculation, simply designate this area with the blue segmentation. The green segment selection should now be used to bring back the missing part of the elbow in the cropped result. Clicking &quot;Execute&quot; followed by &quot;Apply&quot; will finalized your edits. The result speaks for itself! 
 &amp;nbsp; 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Chromakey-matting with CutOut</title>
            <id>https://www.projects-software.com/tutorials/chromakey-matting-with-cutout</id>
            <link href="https://www.projects-software.com/tutorials/chromakey-matting-with-cutout"/>
            <summary type="html">
                <![CDATA[
                
                                            In order to crop objects with a monochrome green or blue background in CutOut 9 professional using chromakey-matting, select the desired image in album-mode and click on chromakey in the menu bar.
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            </summary>
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                 In order to crop objects with a monochrome green or blue background in CutOut 9 professional using chromakey-matting, select the desired image in album-mode and click on chromakey in the menu bar. The selected image should now be opened in the chromakey-matting menu as follows: 
 Now, you have various matting setting-options at your disposal on the right side of the screen, and you can use them to optimize the result. 
 In order to crop the people in the picture, i.e. to extract the green background, first click on the pipette-symbol: Then click on a spot in the image that corresponds to the background color, in this case a green area. 
 Using the pipette-tool gives CutOut 9 professional information about which color corresponds to the background. 
 CutOut 9 professional automatically detects which areas need to be extracted from the image and which need to be retained. 
 The result is displayed directly, whereby the distant background is displayed transparently (gray-white grid-pattern): 
 Since the green background in this picture stands out very clearly from the object (the people), the matting result is already pretty ideal and hardly needs any further improvement. 
 However, one is not always lucky enough to deal with such clearly distinguishable background colors, so that the matting result can often be improved further. In this case, please turn to the chapter chromakey-matting-optimization, which explains the other tools of the chromakey-matting menu 
 To create the displayed matting result as a separate layer in CutOut 9 professional and then edit or save it, click &quot;Apply&quot; in the chromakey-matting menu. 
 As a result, the post-matting menu will appear, presenting an array of options on how you can proceed with the cropped object. 
 To have your cropped object remain as its own layer, please select the option &quot;Duplicate Layer&quot;. 
 Further explanations regarding the remaining menu options can be found in the chapter titled &quot;The Post-matting Menu&quot;. 
 The matting result is now available in the menu bar on the right in the layers-area. 
 In order to recognize the matting result, however, you must hide the layer of the original image that still contains the background. 
 You can do this by clicking on the “eye symbol” next to the layer: 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Inside/Outside Edge Matting</title>
            <id>https://www.projects-software.com/tutorials/inside/outside-edge-matting</id>
            <link href="https://www.projects-software.com/tutorials/inside/outside-edge-matting"/>
            <summary type="html">
                <![CDATA[
                
                                            Inside/Outside Edge Matting is the right choice when it comes to cropping objects from images which do not possess a strictly monotone background or are similar in color to the background itself
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            </summary>
            <content type="html">
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                 Inside/Outside Edge Matting is the right choice when it comes to cropping objects from images which do not possess a strictly monotone background or are similar in color to the background itself. Select the image you wish to crop from album-mode and choose the middle option from the following window. Now, the selected image should be opened in the Inside/Outside Edge Matting Menu as follows: 
 Since the background coloration is, in this case, not only varied but also quite similar to that of the lion’s fur, chromakey-matting would most likely not deliver the best possible result. 
 For this reason, it makes the most sense to separate the object in the foreground from the background manually. 
 To get started, locate the menu-bar on the right side and select the polygon-tool for the outside selection from the upper left-hand corner. Now, draw an outer-edge outline around the lion’s entire head. 
 This does not need to be done with pinpoint precision. 
 Most important when drawing the outline is making sure no point falls inside the object itself. 
 Now, choose the polygon-tool for the inside selection: 
 Step-by-Step, click and drag the outline along the inside border of the lion—that is, where the edge meets the background. 
 Once again, this process does not need to be carried out 100% accurately. In order to be able to work more precisely, however, you can use the zoom function located on the left side of the menu-bar: 
 An alternative option is simply scrolling with your mouse-wheel to adjust the zoom settings. 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Usage of Adobe Lightroom Windodws</title>
            <id>https://www.projects-software.com/tutorials/usage-of-adobe-lightroom-windodws</id>
            <link href="https://www.projects-software.com/tutorials/usage-of-adobe-lightroom-windodws"/>
            <summary type="html">
                <![CDATA[
                
                                            Start the installation program and check if the component “Lightroom Plugin” has been selected. If you don’t have a CD download the plug-in from www.projects-software.de/plugins. Afterwards, open the Lightroom version
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            </summary>
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                <![CDATA[
                 Start the installation program and check if the component “Lightroom Plug-in” has been selected. If you don’t have a CD download the plug-in from www.projects-software.de/plugins. Afterwards, open the Lightroom version. Start Lightroom and navigate to “File =&amp;gt; Plug-in manager” to check if the plug-in is activated. 
 If this is not the case, you always have the option to navigate to the Plug-in Manager, to click on “Add” and to install the plug-in manually. Simply navigate inside the Lightroom Plug-in folder to DENOISEProjects2Professional.lrplugin, and click on “Choose folder” in order to install the plug-in. 
 To open images in DENOISE, simply mark the bracketing-row in your lightroom library. Right-click directly onto the marked image and choose the setting “Export =&amp;gt; Export to DENOISE projects 2 professional”. 
  Or: Choose “File =&amp;gt; Export with requirement =&amp;gt; Export to DENOISE projects 2 professional”. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Using Photoshop Plug-In in MAC OS X</title>
            <id>https://www.projects-software.com/tutorials/using-photoshop-plug-in-in-mac-os-x</id>
            <link href="https://www.projects-software.com/tutorials/using-photoshop-plug-in-in-mac-os-x"/>
            <summary type="html">
                <![CDATA[
                
                                            You can find the plug-ins on the start-screen within the file „Plug-ins“. Here, choose the file that corresponds to your Photoshop version (in the following example, Photoshop CS6 is selected). Double-click on the .zip-file to unpack the plug-in
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 You can find the plug-ins on the start-screen within the file „Plug-ins“. Here, choose the file that corresponds to your Photoshop version (in the following example, Photoshop CS6 is selected). Double-click on the .zip-file to unpack the plug-in. 
 Pull out the unpacked plug-in &quot;DENOISEprojects2ProfessionalFilter_PH6.plugin&quot; (&quot;PH7&quot; with other Photoshop versions) before dragging and dropping the plug-in file in your Photoshop version. Normally, the file will be called plug-in: 
 Now, start your Photoshop version and upload an image before navigating to “Menu =&amp;gt; Filter =&amp;gt; Franzis =&amp;gt; DENOISE projects 2 professional“ 
 With a click, start the plug-in. The image will now be opened in DENOISE projects 2 professional. Now, you will find that the program is in the Photoshop filter-plug-in mode. You will be able to edit the image as usual in DENOISE projects 2 professional. 
  Subsequently, send the finished photo via the control “Apply” back directly into the Photoshop level, where the image originally came from. 
 With the control “Cancel”, you remove the filter-plug-in without sending the edited image back into the Photoshop level. The editing that took place in DENOISE projects 2 professional will be discarded as well. 
 The projects program will then automatically close. This is a compulsive mechanism of Adobe Photoshop. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Erase Scratches &amp; Sensor Errors</title>
            <id>https://www.projects-software.com/tutorials/erase-scratches-sensor-errors</id>
            <link href="https://www.projects-software.com/tutorials/erase-scratches-sensor-errors"/>
            <summary type="html">
                <![CDATA[
                
                                            You will find the erase &quot;scratches &amp; sensor errors&quot;-button on the right-hand side and at the very bottom of the section „Finalise“. This isn’t without reason.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 You will find the &quot;erase scratches &amp;amp; sensor errors&quot;-button on the right-hand side and at the very bottom of the section „Finalise“. This isn’t without reason. Erasing a scratch or sensor error should be something you do at the very end of the editing process. 
 As soon as you activate the correction, a new window will open: In the centre you will find the image and the working-area. The parameters are on the right-hand side. At the very top, on the right-hand side, you will find the display controls beginning with the zoom display. With this display you are able to zoom in on and out from the image as well as move it. Underneath the zoom display there is the contrast display that helps you find irregularities in the image. 
 Activate the contrast display with the front control and change the intensity of the display with the controller on the right. 
 Both of these controls activate, as well as deactivate, the display of the correction areas (left) and the display of the target area. In the section underneath you will find two controls which have an effect on the correction areas. 
 The left controller calculates a new optimum-spot within all correction areas. On the right you can delete all correction areas which you will then have to confirm via a security query. 
 The bottom block-settings handle the actual values of the correction areas: As you can see in the top image, 14 out of 200 options are being used for the correction areas. To use another area, simply click on the paintbrush and adjust to the desired size with the controller on the right-hand side. Then, click on the area of the image that you wish to be corrected. Subsequently, the target area of the corrector will be searched automatically, and will be used and displayed by the program. You can move this target area with the mouse in case you do not like the proposed automatic suggestion. 
 The control “size” allows a subsequent change of size in a correction area. Simply click on a correction area and change the size with the control. The bottom-left control allows you to set a correction area into automatic mode as soon as the target area has been chosen. You can delete the activated correction are with the bottom-right control. 
 You can find the keyboard layout of this window in the chapter “keyboard shot cuts”. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Noise-free Astro-photography</title>
            <id>https://www.projects-software.com/tutorials/noise-free-astro-photography</id>
            <link href="https://www.projects-software.com/tutorials/noise-free-astro-photography"/>
            <summary type="html">
                <![CDATA[
                
                                            The following example will introduce the program in more detail: Galaxy M31 – Andromeda. A sincere thank you at this point to Markus Jane who provided the astro-image-sequences.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The following example will introduce the program in more detail: Galaxy M31 – Andromeda. A sincere thank you at this point to Markus Jane who provided the astro-image-sequences. The photograph at the top shows an individual image, while the one on the bottom is the image edited in DENOISE projects 2 professional. 
  Applications used:  
 – 20 exposures each for the exposure time of five minutes, calculated together to a „master light“ – 20 dark frames calculated together to a “master dark” – 30 flat frames calculated together to a “master flat” 
  &amp;nbsp;The Workflow:  
 – Stacking of dark frames with the function „stacking image sequences” to create the master dark. – Stacking of flat frames with the function “stacking image sequences” to create the master flat. 
 Stacking of light frames with the function “stacking image sequences“ to create the actual image of the motive. Upload this master light image you into the program. Now, you upload the corrector image (master dark and master flat) with the control “load corrector image” before activating the dark or flat frame calculation. In export-mode you can fine-tune the image. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Denoise Channel Display</title>
            <id>https://www.projects-software.com/tutorials/denoise-channel-display</id>
            <link href="https://www.projects-software.com/tutorials/denoise-channel-display"/>
            <summary type="html">
                <![CDATA[
                
                                            The area of the channel display serves as an optical analysis of your image. Tip: Pay attention that the real-time calculation mode in the tool bar at the top is active, so that the display can be updated.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The area of the channel display serves as an optical analysis of your image. 
 Tip: Pay attention that the real-time calculation mode in the tool bar at the top is active, so that the display can be updated. Here, you can select from seven display modes. 
  &amp;nbsp;a)  Displays the whole image, meaning all colour channels 
 This display shows the resulting denoised image with all three colour channels: red, green and blue. 
  b)  Displays the brightness (luminance) The brightness of the image (depending on the selected denoising colour space) 
  &amp;nbsp;c)  Chrominance display (Displays the colour map) 
 In the chrominance display, you can see very quickly if there is colour noise in your motive or not. If the colours are “agitated” you should use the effect &quot;denoising–colour&quot; with a stronger intensity. 
  d)  Red channel In the red channel the red parts of the image receive increased brightness. 
  e)  Green channel In the green channel the green parts of the image receive increased brightness. 
  f)  Blue channel In the blue channel the blue parts of the image receive increased brightness. 
  g)  Difference between the source and the result image The difference-display shows the noised areas of the image that have been removed. What counts here: The fewer details are seen on the difference display the better the denoising worked (as fewer image details were influenced by the denoising). 
  As soon as the difference-display is activated, a control will appear with which the contrast of the difference can be increased. For pictures that have little noise, the difference will be hard to see. In this case, simply increase the contrast of the display. The contrasts of displays from the image illustrates the functions that have been used on it. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Mask Adaptation and Presets</title>
            <id>https://www.projects-software.com/tutorials/mask-adaptation-and-presets</id>
            <link href="https://www.projects-software.com/tutorials/mask-adaptation-and-presets"/>
            <summary type="html">
                <![CDATA[
                
                                            Automatic mask adaptation to the adjustments of distortions from RAW modules. The selective drawing and the RAW module work directly with one another. This includes the distortion corrector located within the RAW module.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Automatic mask adaptation to the adjustments of distortions from RAW modules. 
 The selective drawing and the RAW module work directly with one another. This includes the distortion corrector located within the RAW module. This distortion corrector is applied automatically on all drawn masks.&amp;nbsp; 
 The image example already shows that the sky has been masked. 
 When correcting the horizon of this image in the RAW module, the drawn mask will automatically adapt itself to the distortion corrector. 
 &amp;nbsp;Presets: The presets can be found on the left-hand side of the program. 
 They are divided into 8 different categories. The first two categories “Noise suppression” and “Optimize” contain presets for different ISO areas i.e. from ISO 50 to ISO 2000000. 
 The “Mobile” and “Web” categories contain specially adapted denoising/optimization presets. 
 “Night shot” and “Astro” are specialized for images taken by night as well as astrophotography. 
 The category “All&quot; makes it is possible to use all the available presets at the same time. “Custom” only shows self-made presets. 
 “Favorite” puts all your favorite presets into one folder. 
 By simply clicking the star next to the preview-image you select the preset. 
 As soon as you pick one or more favorites, the category favorite is activated. 
 “Import” and “export” allow you to transfer presets. 
 The preset data is saved in an .ini file. You can save the currently selected presets via the export control. 
 “Import control” allows you to import previously exported presets. 
 This way you can save your work and share the presets with other users. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Denoise Local Adaptation/Selective Drawing</title>
            <id>https://www.projects-software.com/tutorials/denoise-local-adaptation/selective-drawing</id>
            <link href="https://www.projects-software.com/tutorials/denoise-local-adaptation/selective-drawing"/>
            <summary type="html">
                <![CDATA[
                
                                            The selective drawing tool of DENOISE projects 2 professional should be given special attention. With this tool, you can edit in selected areas of an image without having to create complicated masks by hand in other image editing programs.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The selective drawing tool of DENOISE projects 2 professional should be given special attention. With this tool, you can edit selected areas of an image without having to create complicated masks by hand in other image editing programs. 
 DENOISE projects 2 professional has a newly developed intelligent corner-detection-algorithm that can independently distinguish corners, lines, borders and light differences in drawing-mode. It also saves crossed borders - via the mouse - as a mask. 
 These masks, which are incredibly simple and precise, serve as the basis for 10 important image enhancements: &quot;Shade&quot;; &quot;Lighten&quot;; &quot;Intensify Color&quot;; &quot;Reduce Color&quot;; &quot;Enhance Detail&quot;; &quot;Increase Contrast&quot;, etc. 
 These masks can be saved in image filesand can also be used in other image editing programs. 
 How this all works is best explained with a simple example: We open the Selective Drawing window (Postprocessing/Finalization - bottom right). 
 A simple RAW-file is suitable as an image example, a typical image of the sea and a beach. 
 The color details of the image have already been processed and brought to the foreground, so now you just want to slightly lighten the rocks without taking away the evening atmosphere of the image by also lightening the sky, the water and the beach. 
 1. Select the editing target 
 In this case, select &quot;Illuminate&quot;. Make sure that the selected mask-function is activated via the green check mark. 
 2. Activate the drawing-mode 
 3. Activate the fill-mode for all brush-functions 
 4. Go over the contours without clicking on the mouse buttons. You will see the size of the brush and can correct it if necessary. 
 5. Keep an eye on the mask display. The object whose boundaries can be detected automatically is displayed in a whitish color. Now, while holding down the mouse button, drag along the edges of the selected object until it is fully selected. What is displayed at the moment is the effect and the mask above it. 
 6. When you have finished selecting the object, hide the mask by moving the mask display slider to the left. 
 7. Now you can see the effect, i.e. the brighter rock - because &quot;Illuminate&quot; had been selected in the editing target. The intensity of the effect can be adjusted. Move the slider in the + direction or in the - direction so that you have your ideal intensiry. Done: the rocks are brighter while the sky, beach and water remain unchanged. 
 8. Click &quot;Close&quot;. You will return to post-processing and the selected changes will be applied and displayed. 
 9. Use your quickly created mask for further effects: Return to the selective drawing mode. Our constructed mask is preserved. Click and copy the mask to the clipboard. Switch the mask to &quot;Sharpen&quot; and reintegrate the mask from the clipboard into selective drawing. Now you have the rocks in focus while the other areas of the image are left untouched. 
 10. Every effect you have constructed can be activated or deactivated with the green check mark. 
 11. In each image the intensity of the edges will be different. But with the default settings you can be relatively sure that in most cases no adjustments will have to be made. From time to time, however, it will be necessary to readjust the settings of the contours as well as the smoothing in order to achieve ideal results. 
 12. If you have gone over the edge despite all the edge detection available, you can simply use the eraser to erase it. If you only want to erase a little, you can use the eraser with restrictions. If the opacity is set to 50%, you can only erase 50% of the mask, no matter how many times you run the eraser over it. This is also how selective drawing with constraints works, because it draws only with the specified opacity. 
 13. If you want to mask all but one very small object in the image, it is better to mask only that one object and then invert the mask. Just click on . 
 Pro tip: You have two fill-modes to choose from for filling the mask. When do you choose which one? We have already used the &quot;normal&quot; fill-mode ( ) in our example for large areas. This is the fill-mode to use for sky and water areas. 
 The ray fill-mode performs its tasks very precisely and is preferred for smaller objects, geometric shapes, or other objects with straight lines, as in the example shown. 
 You can now use ray fill-mode to mask the walls of this multi-story building, while leaving the glass surfaces unselected. 
 Pro tip: You can use the &quot;Blend in original image&quot; feature to partially focus selected areas of your image. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Denoise projects RAW-Module</title>
            <id>https://www.projects-software.com/tutorials/denoise-projects-raw-module</id>
            <link href="https://www.projects-software.com/tutorials/denoise-projects-raw-module"/>
            <summary type="html">
                <![CDATA[
                
                                            The RAW-module is an integrated RAW-processor for your camera RAW-files. To open the module, simply click on the “RAW” symbol located in the tool bar. There are 9 different control settings in this module:
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The RAW-module is an integrated RAW-processor for your camera RAW-files. To open the module, simply click on the “RAW” symbol in the tool bar. 
  There are 9 different control settings in this module:  o White balance o Denoising/ Sharpening o Colour balance o Exposure o Detail o Colour o Palette o Distortion o General  Note : Editing is possible for both JPG- and TIF-images. You can edit your image at any time during its development (several times if needed). In the example, you can see the RAW-editing of the previously uploaded image: 
  The processor contains these settings:  
 o White balance o Colour balance o Exposure o Palette 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Comprehensive Test Of All HDR projects Features Part 1</title>
            <id>https://www.projects-software.com/tutorials/comprehensive-test-of-all-hdr-projects-features-part-1</id>
            <link href="https://www.projects-software.com/tutorials/comprehensive-test-of-all-hdr-projects-features-part-1"/>
            <summary type="html">
                <![CDATA[
                
                                            As usual, the installation process can be completed easily and efficiently. If preferred, the installation of the Photoshop plug-in and the graphics support can be excluded from this procedure before initiation.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                  &amp;nbsp;  
 As usual, the installation process can be completed easily and efficiently. If desired, the installation of the Photoshop plug-in and graphics support before launch can be excluded from this process. In addition, the comprehensive program manual in PDF format can be opened directly from the installation window. However, this is no longer possible from the options in the program start window that appears after installation. 
   Curiously, the program manual is saved directly under User/UserName/AppData/Local/Temp after being called from the start window in Windows 7. 
 If the PDF manual is not initially called from this location, the file is not saved. 
 After restarting the computer, the file is no longer available because it is stored in a temporary folder. 
 To find the file again, the installation file must be called to display the startup window with the manual. 
 The installation does not need to be restarted; the manual only needs to be displayed in order to save it in another location for later use. This procedure for saving the manual correctly only applies to the downloaded version; the manual that comes with the software in its CD version is saved directly to this special storage medium and is accessible from there. Nevertheless, a better solution could have been found for this problem. 
 &amp;nbsp; 
 Program interface  After completing the installation process, the program can be started as usual. As with the previous versions, an empty window then appears. 
 After starting the program for the first time, it is recommended to adjust the program settings under the Extras tab. 
 As shown above, the available options are spread over five different tabs. 
 On the first tab, the GPU accelerator can be turned off in case the graphics card used has problems with the program. However, this should not be a problem on most modern computers. 
 The adjustments made in this test concern the resolution of the preview display, which is now set to a value of 2.5 megapixels - a click on the Optimal Settings button should suffice. 
 If you need additional information when navigating this window, you can find a helpful explanation of the individual options under the respective tabs by clicking on the &quot;I&quot; symbol in the upper right corner - just like in the previous versions. 
 Of particular interest is the &quot;Calculation&quot; tab, which can have a major impact on the appearance and quality of the image result. 
 Our test is performed at maximum quality, with the smoothing mode set to quad-linear. 
 &amp;nbsp; 
 The relatively high sampling density can overwhelm even the most powerful computers, so we performed further tests of the preview mode and point-of-interest, the results of which are presented later in the article. 
 A decision-making aid for the quality settings is provided under the Extras tab by the benchmark test, a familiar feature from earlier versions of the software. 
 If your tested image receives a rating of five stars, you can set the quality settings to maximum performance without hesitation. This is not to give the impression that the software only runs optimally on high-performance PCs. Even on our 8-year-old computer with a quad-core CPU and only 8 GB Ram, HDR projects 5 ran smoothly and without problems. 
 It is often worthwhile to activate the maximum resolution for the point-of-interest, which can be found in the last submenu Automatic. A noteworthy new feature in this version is the ability to adjust the font size for menus and headings, referred to by the developers as 4K design and customizable in the Display menu. 
 As for other settings highlights, we leave further evaluation to you! 
 This Review has been written by Gerhard Lang, www.ahadesign.eu 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Digitally Remove Annoying Visitors From Museums</title>
            <id>https://www.projects-software.com/tutorials/digitally-remove-annoying-visitors-from-museums</id>
            <link href="https://www.projects-software.com/tutorials/digitally-remove-annoying-visitors-from-museums"/>
            <summary type="html">
                <![CDATA[
                
                                            Get clear shots of all paintings! 
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Get clear images of all paintings! 
  1.  Open NEAT projects professionally 
 &amp;nbsp; 
  2.  Go to the folder and select the sequence of images you want to import. After opening NEAT projects, simply drag and drop the images into the program. If you load a large number of images at once, NEAT projects may warn you that you are running low on memory and suggest that you reduce the size or number of images you are working with.   Tip:  Select the &quot;Reduce size of all images&quot; option. 
 In the example photo below, only eight images were needed in total to remove all the people from the image. NEAT projects can load these without additional resizing. 
 &amp;nbsp; 
  3. Et voilà!  You don&#039;t need to do anything else to have the entire museum to yourself. NEAT projects will automatically remove all people from your photo. Choose a suitable preset on the left side. In the image below, the &quot;Light&quot; preset is the most suitable for this photo. 
 Now all you must do is save your project and you&#039;re practically done! 
 &amp;nbsp; 
  4.  When photographing the insides and outsides of buildings, crooked lines can often become a real pain. With the new Keystone Correction tool, you can quickly and conveniently straighten those lines. Select the Grid view/enable &quot;Guides&quot; and these corrections will take even less time! 
 &amp;nbsp; 
  5.  Activate the RAW tool 
 &amp;nbsp; 
  6.  The tool for aligning and straightening structures is in the &quot;Distortion&quot; section. 
 After applying the keystone correction tool, the lines will be as straight as before: Activate guides 
 Finish your edits by clicking the &quot;Apply&quot; button. The best part is that only one image needs to be changed - the applied corrections are automatically applied to the entire image sequence. 
 &amp;nbsp; 
  7. The result can be seen here  
 There were people in each of the eight photos, and there was not a single moment when the room was completely empty... The eight pictures within the sequence were flawlessly stitched together, so that not even one of the many people previously present appears in the final result. And what&#039;s even harder to believe is that these eight photos were taken without a tripod! 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Comprehensive Test Of All HDR projects Features Part 5</title>
            <id>https://www.projects-software.com/tutorials/comprehensive-test-of-all-hdr-projects-features-part-5</id>
            <link href="https://www.projects-software.com/tutorials/comprehensive-test-of-all-hdr-projects-features-part-5"/>
            <summary type="html">
                <![CDATA[
                
                                            When it comes to the field of RAW development, FRANZIS has delivered a batch of new features and thoroughly improved previously existing functions.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 In the RAW development area, FRANZIS has delivered a number of new features and thoroughly improved already existing functions. Brand new is the &quot;FX&quot; editing field with eight new effects, including sepia and film grain, as well as other effects designed for different editing purposes, such as Highlight Saver and Fog and Haze. Further additions can be found in the &quot;Color&quot; edit box, such as light diffraction correction and color dynamics. 
 Of course, we are not done yet. The Dynamic Brightness editing effect has been newly added to the list of existing options under the Exposure Editing tab. Another very useful addition is the Distortion Effects collection, which provides precise control over trapezoidal distortion. 
 The &quot;Grid Display&quot; button, previously located under the histogram at the top of the screen, is now next to the new distortion setting at the top of the effects column. So far, we&#039;ve seen a lot of new features in this part of the program - with one exception: the Weight Adjustment edit box hasn&#039;t changed much. Now we will take a closer look at the post-processing window. 
 &amp;nbsp; 
  Post-processing effects and the tone-mapping process in expert mode  
 Expert mode requires a certain background knowledge of this part of the program before you can make any major progress, as it does rather little else. Worth mentioning, however, are two brand new tone mapping processes: One for image brilliance and another called Contrast for deep shadows in landscape photography. This brings the total number of tone mapping procedures available in HDR projects 5 professional to an impressive 13. 
 Another 97 post-processing effects are located below, now more clearly arranged and easily accessible. The four buttons above the active list sort the various effects by basic properties and their intended use. 
 The first icon on the left displays all effects, just as in previous versions. The second shows only the most basic effects, and the third the effects that will be used later in the editing process. Finally, the fourth icon on the far right shows all the additional and artistic effects. Activating these icons also affects the content that can be displayed in the search results. For example, if the second icon is enabled, you won&#039;t be able to find the Airbag Distortion effect. 
 &amp;nbsp; 
  The following 16 post-processing effects have been added to the program&#039;s existing collection:  
 Dissolve 
 Haze and Fog Reduction 
 Noise Reduction Optimization 
 Color Dynamics 
 Film Grain – Analogue 
 Film Grain – Fractal 
 Logarithmic Gradation 
 Sharpness Optimization 
 Highlight Restoration 
 Structure Optimization 
 Logarithmic Color Channel Gradation 
 Color Tone Correction 
 Warp 
 Shine (Lichtschein) 
 Lens Reflection 
 Water Reflection 
 Gradient Filers 
 A major advantage in all programs of the projects series was the selective editing option in expert mode. For selective editing, there is now one button for all 56 gradients that can be selected and applied with just one click, replacing the preselected masks. 
 Previously defined masks are saved to the clipboard beforehand and can thus be added again after applying the gradient by clicking on the corresponding icon. 
 In this way it is possible to achieve individual effects by designing masks by hand and modifying them with a gradient. The combination can also be effective the other way around: Designate a gradient for a smoother transition, and then apply a hand-designed mask over it. 
 &amp;nbsp; 
  Comparative Preview feature  
 The new Comparative Preview feature in the Variation Browser in Finalize mode now deserves its own test. This browser can be found in various places in the program and is represented by an icon with nine small boxes and a magnifying glass. Clicking on the icon starts the compilation of the preview data, which can take a while. Nevertheless, this feature can reduce the overall amount of time spent on a project and is almost always worth a try. Below are some examples of variants from the &quot;Surreal&quot; category: 
 The left mouse button can be used to rearrange the variations and the zoom levels can be adjusted by turning the mouse wheel in both directions. As in previous versions, a double-click is all that is needed to select a variation for use. The variation comparison function of the program is also interesting. 
 This allows a selected variation to also be used as a reference for comparison with another. The reference selection is done with a left click and the comparison is done with a right click, and the second variation can be zoomed in first before selection. 
 This is an innovative feature that is sure to meet the needs of many avid users. Kudos to the developers. 
 &amp;nbsp; 
  Optimization Wizard: Opacity  
 As we meticulously comb through all the new features in the new Projects 5 release, we keep noticing rather small additions that prove extremely useful. 
 One example is the new Opacity slider in the Optimization Wizard, which allows you to precisely control all the other available options by regulating their intensity. 
 This review was written by Gerhard Lang, www.ahadesign.eu 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Comprehensive Test of all HDR projects Features Part 4</title>
            <id>https://www.projects-software.com/tutorials/comprehensive-test-of-all-hdr-projects-features-part-4</id>
            <link href="https://www.projects-software.com/tutorials/comprehensive-test-of-all-hdr-projects-features-part-4"/>
            <summary type="html">
                <![CDATA[
                
                                            Another addition worth mention is the automatic Ghosting Correction Optimization. After adjusting various Ghosting slide control settings in the last software version, constantly viewing the image outside of preview mode was quite often necessary for observing visible changes.
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            </summary>
            <content type="html">
                <![CDATA[
                  Comprehensive Test of all HDR projects Features Part 4  
 Another new feature worth mentioning is the automatic ghosting correction optimization. After various settings were made for ghosting correction in the last software version, it was often necessary to view the image outside of preview mode to detect visible changes. Now this can be done with just one click. 
 The automatic function works depending on the intensity and the selected subject method, such as landscape or architecture, which change depending on the selected focus level. 
 If the automatic optimization still does not give the best result, further adjustments can be made as before. 
 In addition to the new compression slider, three new preset buttons have been added: High Contrast, Optimal, and Compressed affect the contrast dynamics displayed in the Curves panel below. 
 If none of these contrast presets produce the desired result, the sliders can be adjusted again manually. 
 This image section is at a zoom level of 100% and has not been modified except for the applied preset &quot;Natural Brightness&quot;. 
 When these images were taken, both the people and the flag were in motion. More work was needed in HDR projects 4 to achieve a satisfactory result. The same result can be achieved in a few seconds in this new version. 
 Fusions profiles can contribute greatly to a more efficient workflow by allowing the user to define individual presets for specific photographic situations or subjects. 
 This can be done by simply taking time to fine-tune the algorithms and their settings beforehand. These defined settings can then be saved and exported to a location of your choice. 
 When uploading an exposure series similar to one previously edited, a suitable editing profile can be imported, and the editing process completed without much effort. Another useful option is to save a profile with basic settings that will be used for each exposure series. These profiles can of course also be (re)named and deleted as desired. Special characters should be avoided, however, as they always lead to an underscore - an aspect that could have been handled differently. As in the Algorithm Browser, profiles can be evaluated and selected directly from post-processing. 
 If you want, you can adjust the settings so that the window for editing the exposure series always appears first when you start the program, a more logical approach that was standard in HDR projects 3. After the release of HDR projects 4, the post-processing window with all previously selected algorithms and effects appears first after the image upload, which also has its advantages. The design of one&#039;s workflow here simply depends on personal preferences, as it should be. 
 &amp;nbsp; 
 This review was written by Gerhard Lang, www.ahadesign.eu 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">HDR Projects 4 Professional Review</title>
            <id>https://www.projects-software.com/tutorials/hdr-projects-4-professional-review</id>
            <link href="https://www.projects-software.com/tutorials/hdr-projects-4-professional-review"/>
            <summary type="html">
                <![CDATA[
                
                                            My first impression on using this software was that it presented a lot of choices 
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            </summary>
            <content type="html">
                <![CDATA[
                 My first impression using this software was that it offers a lot of choices, so where do I start? The opening screen after selecting the file to edit offers a versatile menu for selecting color space, white balance, noise reduction, exposure optimization, alignment, and ghost correction. Once you&#039;re happy with the settings, you can leave them at the defaults or even turn them off. I mostly used the default settings at this stage, but it&#039;s good to have a choice. 
 &amp;nbsp; 
 When you click &quot;Next&quot;, the main screen of the program appears with the image in a large window and you have a choice of 134 preset options grouped into 8 sections for different effects, including &quot;Natural&quot;, &quot;Surreal&quot; and &quot;Monochrome&quot; in the left pane. These effects are very customizable, and you can create many variations by using a combination of settings and filters and then saving them for later use, which is an excellent feature. There is also an expert mode that gives you ultimate control over the image. 
 In this RAW single image of an underexposed beach scene, I used the Natural Balance effect to bring out all the details in the image. 
 Then I tried one of the Monochrome options on an industrial scene, I wanted a gritty effect and used the Monochrome Tritone option shown below - again I was impressed with the ability to adjust the effect. 
 Next, I decided to try another underexposed image of a street view and used the Natural Backlight preset. This brought out all the details in the image, giving it great impact. 
 &amp;nbsp; 
  Summary  
 Overall, I was very impressed with this program. It is very customizable, so you can adjust and tweak your images as much or as little as you want, while having a lot of control over the final image. Although it takes a while to get used to the user interface, it is well worth the effort. 
 &amp;nbsp; 
 This software review was written by Bob Turner, ARPS EFIAP. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Remove moving objects from your photo… or merge them into one image!</title>
            <id>https://www.projects-software.com/tutorials/remove-moving-objects-from-your-photo-or-merge-them-into-one-image</id>
            <link href="https://www.projects-software.com/tutorials/remove-moving-objects-from-your-photo-or-merge-them-into-one-image"/>
            <summary type="html">
                <![CDATA[
                
                                            In each individual image within this collection of images, an ambulance is displayed at different intervals while driving over the bridge.
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            </summary>
            <content type="html">
                <![CDATA[
                 In every single image of this collection of images, an ambulance is shown at different distances whlile driving over the bridge. Open NEAT projects professional. 
 Go to the folder and select the image sequence you want to import. After opening NEAT projects, simply drag and drop the image group into the program. In this example we use twelve frames of the passing ambulance, enough for the algorithm to completely remove it from our image. Add images Perfect! The road is now cleared 
 This feature of NEAT projects is great for clearly photographing buildings, for example, without also having to capture the many passing cars blocking your view. 
 But NEAT projects professional can do even more! Each individual image of the ambulance can be combined in one image to create a motion sequence. 
 Just search for motion algorithms and select &quot;Add Motion&quot;. The entire sequence has now been combined into a single image. 
 You can control how often the ambulance appears in the photo by excluding individual images from the algorithm&#039;s calculation. Click on the &quot;Edit image sequence&quot; option in the menu bar. Editing an image sequence 
 In the upper left corner next to each image preview are small boxes, each of which is checked off. By unchecking these boxes, you uncheck these images and exclude them from the image sequence. 
 &amp;nbsp; 
 This way, you can precisely visualize selected steps and speeds within a motion sequence. Another application of these methods will be presented in the next tutorial, where the &quot;Add Motion&quot; option becomes a stylistic device. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Winter wonderland captured optimally with HDR</title>
            <id>https://www.projects-software.com/tutorials/winter-wonderland-captured-optimally-with-hdr</id>
            <link href="https://www.projects-software.com/tutorials/winter-wonderland-captured-optimally-with-hdr"/>
            <summary type="html">
                <![CDATA[
                
                                            As with any HDR, it begins with proper bracketing. With this design you might think that an HDR would be unnecessary anyway and the whole picture could also be done with an exposure. Think again! The devil is in the details, especially here.
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            </summary>
            <content type="html">
                <![CDATA[
                 As with any HDR, it begins with proper bracketing. With this design you might think that an HDR would be unnecessary anyway and the whole picture could also be done with one exposure. Think again! The devil is in the details, especially here. Such a design contains enormous differences in brightness and many fine details that only become visible with the right HDR. Therefore, the bracketing is the foundation which must be carefully considered and chosen. 
  Example: Winter landscape at Katschberg in Carinthia  
 
 Place the camera on a sturdy tripod 
 Turn off all of the camera’s automatics 
 If not already done, set file format to RAW 
 Set white balance to daylight filters (can also be changed later in the HDR process) 
 Photograph bracketing with 1 f-stop difference, in this case, there were 7 individual exposures 
 Visual control on the camera screen – is everything on it?! 
 Quick stop at the next hut to warm up? 
 
  Arriving at home in the warmth, HDR projects 4 comes next!  
 
 Load bracketing in HDR projects 
 In the first dialogue, turn off everything except the alignment correction 
 Select HDR algorithm – my favorite: “logarithmic luminance” or “absolute distance” 
 With this design, I have no problems with ghosting either, so I can go directly to the post-processing again. 
 Turn off optimization wizards 
 Set intelligent color space to &quot;based on brightness&quot; 
 Click &quot;expert&quot; and select the post-processing effects 
 Remove chromatic aberration 50% 
 Tone mapping cradient: 500px – 40% – 45% 
 For more structure: local contrast compensation 70px – 180px 
 Denoise Sky 50% 
 Lighten the design a bit: Dynamic Brightness 50% 
 Customize contrasts: gradation curves 
 Slight S-shape for a crisper picture. But watch out in the bright white areas, so the details do not get lost! 
 Intensify colors: color palette 
 Boost the blue tones of the sky a little with 10% 
 Customize colors: move blue tones a bit into cyan -5 ° 
 Fine-tune sharpening: with 60% and the masking to “extreme shooters” 
 
 Then one last detail control, by clicking on the calculation of the full resolution. If everything looks good here, save the finished HDR. Then the picture will be finalized in Photo projects or Lightroom. Then I usually apply another lens correction, which checks and, if necessary, adapts the color and contrast and perhaps darken the sky a little more at the top of the screen. 
  Snow has to look like snow  The most important thing in winter landscapes is the snow and the details in the snow. Here, during the HDR process, you have to pay very close attention to the snow, so that it stays white and the details come out nicely. With the right mix of “local contrast compensation”, “dynamic brightness” and “tone curve”, the snow can be defined wonderfully. Again, the same rule as for all other HDR motives also applies here: less is more! With the HDR technique, it’s all about reproducing, what I have seen and experienced on the spot. My eye is the best camera in the world. And with HDR photos I can get very close to its kind of quality. 
 Achim Meurer is a trained photographer and self-employed for over twenty years. He mainly advises customers from the tourist department in Austria and Germany. 
 He specializes in HDR photos, that pass on moods and materials particularly well through their enormous contrast range and exactly convey the emotions, that one had or will have on site, to the viewer. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Algorithm Browser</title>
            <id>https://www.projects-software.com/tutorials/algorithm-browser</id>
            <link href="https://www.projects-software.com/tutorials/algorithm-browser"/>
            <summary type="html">
                <![CDATA[
                
                                            HDR algorithms in graphical comparison with the variants browser. These days, image post-processing is simply a must for any photographer
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            </summary>
            <content type="html">
                <![CDATA[
                 Image post-processing is simply a must for every photographer today. As a user, you want to achieve a good result as quickly as possible, even with complex software that allows many selectable algorithms for perfect and individual results. Then, of course, it is a great advantage to be able to quickly assess the effects of complex procedures and make a quick decision. With the variant browser and its graphical overview, exactly this goal is achieved. 
 After an HDR image has been loaded into the post-processing window, a decision must be made whether to use a scenario, an HDR weighting mode or possibly one of the options of the Tuning Wizard. In all cases, it is always the same icon for the Variant Browser in front of the pull-up menu with the respective options. 
 Of course, each option could now be tried out one after the other on the large screen. However, a visual overview of all variants at the same time is much more effective. This way, all algorithms can be compared nicely side by side in a single window, and it also saves a lot of time. 
 &amp;nbsp; 
 If you click on the browser icon to the left of the pull-up menu with the options, a relatively short calculation is started despite many variants. A separate, new window is displayed immediately. 
 Here you can see at first glance what the respective algorithm does. In this example it is the weighting modes. The ideal candidate can now be selected at leisure. Once the favorite has been determined, the desired variant is quickly set up with a simple double-click and the window closes. If the current algorithm was already perfect and no change has been made, simply go back with the close button. 
 &amp;nbsp; 
 This way, the right decision can be made in no time at all, and, by the way, the variant browser is always perfect for inspiration. 
                ]]>
            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Bring your photos to life with COLOR projects</title>
            <id>https://www.projects-software.com/tutorials/bring-your-photos-to-life-with-color-projects</id>
            <link href="https://www.projects-software.com/tutorials/bring-your-photos-to-life-with-color-projects"/>
            <summary type="html">
                <![CDATA[
                
                                            My goal as a wedding photographer is to create life-like photos that capture the true feeling of a wedding day. 
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            </summary>
            <content type="html">
                <![CDATA[
                 My goal as a wedding photographer is to create life-like photos that capture the true feeling of a wedding day. I want my clients to be able to look back at their photos for years to come and feel like they are reliving their magical day all over again. 
 One of the ways I accomplish this is through the use of color in my photos. Whether it’s the soft pastel colors of a spring wedding, the bright, bold colors of a sunny summer wedding, the beautiful warm hues of a fall wedding, or the pops of color against the snowy backdrop of a winter wedding, getting the color right is one of the most important steps of my post processing workflow. Color also plays a large role in defining your style as a photographer. Some photographers prefer a moody look with muted colors, some a more vintage vibe with slight color tinting, and others, like myself, prefer bolder, more saturated colors. 
 Whichever style you prefer, it’s important to be consistent in your work, and color projects makes staying consistent easy! 
 COLOR projects is a great tool for any photographer who want’s to give their photos that “wow effect.” It’s easy to use and comes with over 100 presets and analog film emulation filters. What I found especially useful was the selective painting function. 
 This allowed me to make changes to only certain parts of the photo, while preserving other parts. For example, I was easily able to increase the color intensity on the fall leaves without over-saturating the couple’s skin tone. 
 COLOR projects can be used as a standalone application, or along side Adobe Lightroom and Photoshop, which allows it to fit seamlessly into my workflow. It’s built in RAW editor lets you make basic adjustments to the digital negative, and with a click of the mouse you can export my edited images to photoshop where I can continue with my usual workflow. 
 This Article was written by Kristin vom Kristin Speed Photography 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Timeless Happiness</title>
            <id>https://www.projects-software.com/tutorials/timeless-happiness</id>
            <link href="https://www.projects-software.com/tutorials/timeless-happiness"/>
            <summary type="html">
                <![CDATA[
                
                                            Make your photos look really old! The vintage look is in, and it has been for quite a while! Back in the 90s there was a huge Lomographie hype that has come back again in recent years
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            </summary>
            <content type="html">
                <![CDATA[
                 Make your photos look really old! Vintage looks have been trending for quite a while now. Back in the 90s Lomography became immensely popular and that hype has come back in the last few years. 
 It’s hard to imagine Smartphone photography without retro-filters but even high-end, professional photos are often given a vintage-look. It’s just hard to resist the charm of the past, and understandably so! No matter if it’s about city trips, landscape photos or family snapshots, retro photo effects will make your photo stand out! The effect on photos with children is extra-special. They will seem as if they were taken in a different era. 
 Bleached, scratched, dusty… A picture of grandpa’s attic? Nope! One reason vintage filters are so popular is surely due to the possibility of going back and forth in time. You took the photo sonnenbrillen_3 yesterday, but after quickly editing it with ANALOG projects it’s now hard to tell which generation the photo is actually from. 
 If you’ve ever gifted someone a photo calendar after having spent hours choosing the perfect photos you know how difficult it can be to maintain a consistent look. ANALOG projects makes those tasks easier: Simply open your photo, choose and apply a preset, save the new photo and that’s it! Vintage, stylish, and totally modern! Let your next project be a “Retro Photo Calendar”! 
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            </content>

                            <updated>2021-10-03T00:15:00+02:00</updated>
                    </entry>

    
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