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Both apps are pointed at the same folder of images in the Finder, meaning that both apps can read the same metadata and PhotoLab can now read and write that metadata in real time. Over here in PhotoLab, we’ll see they’re all empty as well.

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I’ll load up another folder full of photos and rearrange my screen so we can see Lightroom as well and in Lightroom, under the IPTC metadata field, you’ll see that the IPTC fields are all empty. Next, I want to show you some changes in metadata and to do this, I’m going to use both PhotoLab 5 and Lightroom Classic. And as you can see, the water is being selected beautifully. I’ll take the color temperature and drag it down to make it a little bit cooler or bluer, or I’ll drag it up to make it a bit warmer or greener. I’ll hide the Masks and go ahead and change that. And now we have a really good selection of just the water. I’ll go ahead and drag a selection area across here and I’ll take that eyedropper, drag it up to the top onto the sky to knock that out. Just like with the Control Point, I have negative Control Lines as well. The only thing that’s missing is the sky, or rather the sky’s actually been included here and I want to knock that out. I can do the same thing with the luminance dragging to the right to constrict it, or to the left to expand it. So, I’ll find a selection area that gets most of that water. To refine this, I’ll go to the Mask selectivity sliders, and then to contract the chrominance range, I drag that to the right, and you can see how the Mask is being limited to a more precise range of color, or I can expand that by dragging to the left and broaden that out. This will allow me to refine the Mask based off of the chrominance range and the luminance range - that’s the color and the brightness range of the area that I started my sample from.

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We can actually refine the Mask using tools that were first introduced in the most recent Nik collection update chrominance and luminance sliders. This is pretty good but it’s not perfect. It allows me to select whatever part of the image I want to base the Mask off of.

However, unlike a Control Point where that selection starts with the center point - which doesn’t really make sense for a Control Line - there’s a new tool and that’s the eyedropper here. However, this is a Control Line which means that the Mask on this side is going to be built based off of the chrominance and luminance of wherever I’ve selected. The Control Line starts like a linear gradient I simply click and drag across my scene to create a Mask that will affect this part of the scene at 100%, and this part at 0%, and then the line in between here is the gradient going from 100 to 0%. Let me reset this and select the new Control Line tool.

But now, there’s a better way, and that’s Control Lines. And just like that, we’ve created a pretty good Mask over the entire water. So, I’ll knock part of that out by adding a negative Control Point up here in the sky. However, you can see that it has also selected the sky. Three ought to do it there, giving me all the water along the beach. To select the rest of the water, I’ll just add additional Control Points. Let’s enable Masks so I can see exactly what’s being selected and from here, you can see that I’ve created a Mask to select this part of the water. If I wanted to change the color of the water, I can simply drop a Control Point anywhere on the water. The first thing I want to show you are the new Control Lines, but first, I’m going to show you Control Points again. As in the past, DxO asked me to join them on their virtual press tour showing off the top new features to English speaking media around the world and I’d like to share those demos with you. DxO PhotoLab 5 and DxO FilmPack 6 both introduced some exciting new features. DxO has just released updates to two of their apps, PhotoLab and FilmPack.

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