# Phase One Adds EOS 5D Mark IV Support to Capture One 9.3



## Canon Rumors Guy (Sep 20, 2016)

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<em>Phase One released Capture One 9.3 – the third major update for Capture One 9.</em></p>
<p>The previous 9.2 update released two months ago delivered new file handling features. The new Capture One 9.3 is about under the hood improvements and bug fixes. It also brings a calibration feature for owners of Eizo displays and profiles for 11 new cameras including the new Canon 5D Mk IV, Fujifilm X-T2 and X-E2s.</p>
<p>Here is a detailed overview of all the new features of Capture One 9.3.</p>
<p><!--more-->

<strong>New Features</strong></p>
<p><strong>Eizo Monitor Calibration</strong></p>
<p>Eizo monitors are designed for professional photography. They are known for great display quality and color accuracy.</p>
<p>The CG Series of Eizo monitors have a built-in SelfCalibration sensor. With this sensor, you can calibrate the monitor without the need of a third-party calibration device. The new feature of Capture One 9.3 allows to start a calibrating process right from Capture One settings menu. It’s a quite useful addon for professionals who are supposed to regularly recalibrate working displays.</p>
<p>Supported monitors:</p>
<ul>
<li>CG245W</li>
<li>CG275W</li>
<li>CG246</li>
<li>CG276</li>
<li>CG247</li>
<li>CG277</li>
<li>CG247X</li>
<li>CG248 (UHD 4K)</li>
<li>CG318 (DCI 4K)</li>
</ul>
<p><strong>Metadata handling</strong></p>
<p>In Capture One 9.3 developers updated how the application would handle metadata information and exchange it with XMP sidecars. They have also fixed a number of existing bugs.</p>
<p>Visually everything works like it has before: you can adjust Metadata preferences in Capture One settings. But now it should work faster and be more reliable.</p>
<p><strong>Recipes</strong></p>
<p>The same under the hood update was delivered to Recipes in Capture One 9.3 to improve a stability of processing.</p>
<p>In Capture One 9.3 you would not find any new tools for editing, but it is an important update to improve Capture One stability and is definitely recommended to install.</p>
<p><strong>New Cameras Support</strong></p>
<ul>
<li>IQ1 100MP</li>
<li>iXU-RS160</li>
<li>iXU-RS180</li>
<li>iXU-RS160 Achro</li>
<li>iXU-RS150</li>
<li>iXU-RS1000</li>
<li>Canon 5D Mk IV</li>
<li>Fujifilm X70</li>
<li>Fujifilm X-E2s</li>
<li>Fujifilm X-T2</li>
<li>Panasonic GX80</li>
<li>Panasonic GX85</li>
<li>Panasonic G7 Mk II</li>
</ul>
<p><strong>New Lenses Support</strong></p>
<ul>
<li>Schneider Kreuznach LS 45mm f/3.5</li>
<li>Schneider Kreuznach LS 150mm f/2.8</li>
<li>Canon EF 14mm f/2.8 II USM</li>
<li>Canon EF 180mm f/3.5L Macro USM</li>
<li>Canon EF 200mm f/2L IS USM</li>
<li>Canon EF 28mm f/2.8 IS USM</li>
<li>Canon EF 300mm f/2.8L IS II USM</li>
<li>Canon EF 50mm f/1.8 STM</li>
<li>Canon EF 50mm f/2.5 Compact Macro</li>
<li>Canon EF 70-200mm f/2.8L USM</li>
<li>Canon EF-M15-45mm f/3.5-6.3 IS STM</li>
<li>Carl Zeiss Vario-Sonnar T* 16-35 mm F2.8 ZA SSM II</li>
<li>Carl Zeiss Vario-Sonnar T* 24–70 mm F2.8 ZA SSM II</li>
<li>Carl Zeiss Vario-Tessar T* FE 24-70 mm F4 ZA OSS</li>
<li>Nikon AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR</li>
<li>Olympus M.ZUIKO DIGITAL ED 14-150mm 1:4.0-5.6 II</li>
<li>Sony 1.4x Teleconverter</li>
<li>Sony 2x Teleconverter</li>
<li>Zeiss Planar T* FE 50mm F1.4 ZA</li>
</ul>
<p><strong>Bug fixes: Mac</strong></p>
<ul>
<li>Fixed a settings migration issue that could cause some loss of information</li>
<li>Fixed an issue causing local adjustment masks not to be persisted properly</li>
<li>Allow negative increments for the capture counter</li>
<li>Fixed an issue causing image settings to be ignored when importing images with existing adjustments</li>
<li>Fixed an issue causing certain lens correction profiles not to be applied properly</li>
<li>Fixed some strings for the Italian localization</li>
<li>Fixed crashes with certain shortcuts</li>
<li>Fixed a crash related to the camera tool properties</li>
<li>Fixed a minor memory leak</li>
<li>Various other minor fixes and improvements</li>
</ul>
<p><strong>Bug fixes: Win</strong></p>
<ul>
<li>Sometimes the wrong ICC profile was applied and the image would look pale until restart of Capture One</li>
<li>Fixed issue where certain lens metadata was ignored</li>
<li>Fixed issue where you couldn’t import keywords from a Capture One Session</li>
<li>Sometimes the browser wouldn’t list incoming files when in “list mode”</li>
<li>When dragging a file from Media Pro to Capture One some custom metadata would be lost</li>
<li>Various crashes</li>
<li>Various other minor fixes and improvements</li>
</ul>
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## Deleted member 378221 (Sep 20, 2016)

It baffles me how as to date they do not support the Sigma 35mm/1.4 Art for *Canon*, while they do have a profile of the same lens for *Nikon*. The official support answer I got back then was:



PhaseOne support said:


> We oftern profile based partly on demand but also based upon what we can get in house. In this case we could get a Nikon version but not the Canon.



Yeah, right...you can't get a 35mm Art for Canon or there's no demand for that lens? Don't quite believe you. ;D


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## winfel (Sep 20, 2016)

I just tried the new version of Capture One which can read the dual PDRAWs of the new 5D Mark 4. I used the street scene you can find on http://www.kamerabild.se/tester/vi-h...-iv?nodePage=2 finden.

When I pulled the exposure down by three steps and compared the results in DPP and in C1, you can clearly see, that while DPP does not care about the second frame for exposure purposes, C1 can easily „rescue“ the sky.

The result in DPP: https://www.dropbox.com/s/6nk9ioivcdyy7by/Schwedenbild%20DPP.png?dl=0

The result in C1: https://www.dropbox.com/s/mfia4rb1navk6gg/Schwedenbild%20C1.png?dl=0

That’s great news I must say because it means that dynamic range improved not only in the shadows but also in the highlights or put differently by always „overexposing“ by a stop you now have ISO 50 on the 5D Mark IV.


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## rrcphoto (Sep 20, 2016)

*Q*



winfel said:


> I just tried the new version of Capture One which can read the dual PDRAWs of the new 5D Mark 4. I used the street scene you can find on http://www.kamerabild.se/tester/vi-h...-iv?nodePage=2 finden.
> 
> When I pulled the exposure down by three steps and compared the results in DPP and in C1, you can clearly see, that while DPP does not care about the second frame for exposure purposes, C1 can easily „rescue“ the sky.
> 
> ...



is it using the data in the second raw or just simply rescuing the sky better than DPP?


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## winfel (Sep 20, 2016)

Sorry, the two URLs got corrupted:

The result in DPP: https://www.dropbox.com/s/6nk9ioivcdyy7by/Schwedenbild%20DPP.png?dl=0

The result in C1: https://www.dropbox.com/s/mfia4rb1navk6gg/Schwedenbild%20C1.png?dl=0


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## privatebydesign (Sep 20, 2016)

*Re: Q*



rrcphoto said:


> winfel said:
> 
> 
> > I just tried the new version of Capture One which can read the dual PDRAWs of the new 5D Mark 4. I used the street scene you can find on http://www.kamerabild.se/tester/vi-h...-iv?nodePage=2 finden.
> ...



No it is using the sub frame. That has been shown to be a 1 stop lower exposure so you truthfully gain a full stop of DR on the highlight end. It is crazy how little traction this feature is getting considering the noise that has been made over DR differences in the last few years.

This post illustrates the blown sky values https://www.dpreview.com/forums/post/58272053

And if you shoot dual raw you can truthfully get 12.6+1 stops of true DR (not normalised), 13.6 stops. That is over .9 stop better than the A7RII.


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## Alex_M (Sep 20, 2016)

Private, I think that Canon keeps low profile about this extra stop os DR feature because it could be very confusing for many canon shooters to see in camera preview highlight clipping indicators go completely crazy while in reality there is no clipped highlights if DPRAW shot was taken. To resolve this conundrum, Canon must start processing DPRAW files accordingly for the in camera preview. Can they even do that in camera? It is much easier fior them to view the extra 1 DR stop as a "bonus" of focus/ bokeh shifting tech.


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## privatebydesign (Sep 20, 2016)

Alex_M said:


> Private, I think that Canon keeps low profile about this extra stop os DR feature because it could be very confusing for many canon shooters to see in camera preview highlight clipping indicators go completely crazy while in reality there is no clipped highlights if DPRAW shot was taken. To resolve this conundrum, Canon must start processing DPRAW files accordingly for the in camera preview. Can they even do that in camera? It is much easier fior them to view the extra 1 DR stop as a "bonus" of focus/ bokeh shifting tech.



I can't see Nikon or Sony marketing departments being so conservative! I can't see DPReview being so quiet either had it been a Sony or Nikon innovation, and make no mistake, this is a massive innovation!

Your scenario is exactly what we already get with 8bit Jpeg in camera review images of 14 bit raw files. Anybody shooting to clip an in camera histogram is already losing at least one stop of dr, with a dual raw they are losing at least 2 stops. Wonder if that is why DPR reviewers are so awful in 'real life shooting scenarios'?


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## wockawocka (Sep 20, 2016)

winfel said:


> I just tried the new version of Capture One which can read the dual PDRAWs of the new 5D Mark 4. I used the street scene you can find on http://www.kamerabild.se/tester/vi-h...-iv?nodePage=2 finden.
> 
> When I pulled the exposure down by three steps and compared the results in DPP and in C1, you can clearly see, that while DPP does not care about the second frame for exposure purposes, C1 can easily „rescue“ the sky.
> 
> ...



Winfel, does Lightroom behave the same way as C1?


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## rrcphoto (Sep 21, 2016)

*Re: Q*



privatebydesign said:


> rrcphoto said:
> 
> 
> > winfel said:
> ...



actually I just loaded the RAW into adobe bridge and could drag back the highlights pretty much the same.

so no, there's no proof it's using the second raw in the CR2 file.


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## Alex_M (Sep 21, 2016)

Unless you are shooting in JPG, that is not my experience...

I would love to learn about your camera setup that supports shooting in ETTR style with 1/3 stop highlight clipping margins. Can you even adjust your highlight clipping indicators position in Canon cameras?




dilbert said:


> If you're shooting for ETTR then you should have your camera setup to support that.
> 
> For me the previews are within 1/3 of a stop, often less, for clipping so that if I see clipped highlights in review, I know the raw is blown.


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## privatebydesign (Sep 21, 2016)

Alex_M said:


> Unless you are shooting in JPG, that is not my experience...
> 
> I would love to learn about your camera setup that supports shooting in ETTR style with 1/3 stop highlight clipping margins. Can you even adjust your highlight clipping indicators position in Canon cameras?
> 
> ...



You are right, you cannot get anywhere near 1/3 stop accuracy for raw blown highlights from an in camera jpeg, even if you make a custom Picture Style. Anybody that says they can is lying.


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## photennek (Sep 21, 2016)

privatebydesign said:


> Your scenario is exactly what we already get with 8bit Jpeg in camera review images of 14 bit raw files. Anybody shooting to clip an in camera histogram is already losing at least one stop of dr, with a dual raw they are losing at least 2 stops. Wonder if that is why DPR reviewers are so awful in 'real life shooting scenarios'?



Let me check if I understood what you mean (I'm learning here)...

In high dynamic range scenes, if I set my shot's exposure so that it is just clipping the highlights in the camera histogram, I am losing at least one stop of dr, because the raw file clipping is still at least one stop higher (with dual raw two stops higher). So to get the benefits of the full dynamic range possible, I should first find exposure where it just clips the highlights in camera histogram, and then I could increase the exposure with one full stop more. Then in post just use highlight recovery (possibly a few times or so) to get it back looking "normal".


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## Alex_M (Sep 21, 2016)

you have just opened a large can of worms and it does not work to your benefit )
here are couple of very relevant videos for you to watch but if you know your camera clipping range ( say, 2.3EV from shadows clipping point to to mid gray(0EV, 118) and +3.0EV mid gray to highlight clipping point), you can utilise your in camera spot metering system to place your extreme highlights by shifting your exposure by 2.5EV-2.7EV to the right ( I would personaly not try to push my luck with 2.7EV exposure shift and use 2.5EV settings instead as your lighting conditions may change any second. anyway, please do yourself a favour and watch these educational videos.:

https://www.youtube.com/watch?v=v3HPX76kGzc

https://www.youtube.com/watch?v=G4iiKcuv_is






dilbert said:


> privatebydesign said:
> 
> 
> > ...
> ...


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## Alex_M (Sep 21, 2016)

Watch at least the first one. It will be 1 hour well spent. Resist the ignorence.


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## privatebydesign (Sep 21, 2016)

photennek said:


> privatebydesign said:
> 
> 
> > Your scenario is exactly what we already get with 8bit Jpeg in camera review images of 14 bit raw files. Anybody shooting to clip an in camera histogram is already losing at least one stop of dr, with a dual raw they are losing at least 2 stops. Wonder if that is why DPR reviewers are so awful in 'real life shooting scenarios'?
> ...



Exactly right, yes.

It makes sense to test your own camera and set Picture Style to confirm where your optimal compensation level will be but you get the idea perfectly.


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