What Prepare is for
Choose Develop → Prepare to decide how the source is interpreted and cleaned up. These six tools cover camera colour, film negatives, noise and distractions. Creative profiles and film simulations are in Colour & Look; ordinary sharpening is in Detail. Use Customise tools to reveal Negative conversion.
Camera profile
Watch Camera profile · 0:44
Silent, with on-screen explanations; processing waits are shortened.
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- Camera profile · see the starting imageThis is a Panasonic LX100 RAW. Its camera colour calibration is available here.
- Choose the included community profileCompare the colour and tone: this profile supplies its own rendering.
- Return to Automatic colourThe regular tone controls take over again; your other edits stay editable.
- Apply the included camera lookThis is a contrast and saturation preset inspired by the camera’s JPEGs.
- Undo the camera lookUndo brings back the previous rendering so you can compare.
- Inspect advanced input colourInput profile and working space are technical calibration choices, not creative looks.
What it does. Converts your RAW camera's recorded colours into usable colour and, if selected, adds a camera-specific colour and contrast look. Automatic calibration is already provided. You do not need to download a profile before editing a supported RAW.
When to use it. Leave Automatic colour for a normal starting point. Try an included or owned camera profile when skin, greens or the camera's overall rendering would suit a different interpretation. A JPEG already contains a camera rendering, so RAW camera profiles are not offered as a way to undo it.
| Control | What it changes |
|---|---|
| Camera identity | Shows which camera the photo reports, so you can check whether a profile is appropriate. |
| Colour profile → Automatic colour | Uses automatic camera calibration and your normal tone controls. |
| Community colour · included | An included camera-matched alternative with its own colour and contrast. Availability depends on the camera. It replaces Print stock. |
| A named DCP profile | Applies compatible imported camera colour and contrast. Only matching supported profiles are selectable. It also replaces Print stock. |
| Current print stock | Indicates that a film stock currently occupies the shared rendering slot; it is not another calibration to stack over that stock. |
| Apply camera look | Applies an included contrast/saturation recipe inspired by the camera's JPEG appearance, when one is available. Exposure, white balance, crop, local corrections and detail remain. This is a look, not an exact reconstruction of every camera JPEG setting. |
| Search camera profiles | Filters a longer list by name. Typing a search alone does not apply a profile. |
| Additional profiles → Import profile… | Adds an owned .dcp file after compatibility checks. |
| Profiles folder… / Refresh | Chooses the folder to search, including subfolders, or rescans it after files change. |
| Profiles unavailable | Lists rejected or incompatible profiles with an explanation, rather than silently treating them as working choices. |
| Advanced input colour → Input profile | Selects the input calibration or embedded profile. Keep the appropriate automatic/camera choice unless you have a specific calibrated workflow. Choosing an unrelated RGB space is not a creative colour effect. |
| Rendering intent | Controls colour conversion where supported: Relative preserves in-range colours relative to the destination white; Perceptual redistributes colours for a visual fit; Saturation favours vividness; Absolute also preserves the source white reference. The input/profile conversion determines which choices are relevant. |
| Gamut clipping | Limits extreme input colours to the chosen space. It can tame problematic saturated sensor values, but also discard colour range. |
| Working profile | Sets the RGB space used during editing. A wide working space retains saturated colours for later rendering; this is separate from the export profile. |
Try it. Compare Automatic colour with the included community profile on skin and saturated fabrics. Use Undo to compare the same exposure and white balance. If the whole contrast changes, that is expected for a profile supplying a look. Choose the profile before fine colour grading.
Watch for. Missing saved profile tables must be restored by importing/selecting the profile again before export. Transfer required profile files when moving edits to another machine. Camera profiles, Creative profiles and export profiles serve different purposes.
Negative conversion
Watch Negative conversion · 1:20
Photograph: Joachim Braun (jjbraun), “10-1.NEF”, https://discuss.pixls.us/t/negadoctor-color-negative/43472. Inverted and adjusted in OmaRAW. Photograph, adapted renditions and this demonstration film: CC BY-SA 4.0, https://creativecommons.org/licenses/by-sa/4.0/. The film-base values are specific to this scan.
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- Negative conversion · see the starting imageA real colour-negative camera scan by Joachim Braun · CC BY-SA 4.0.
- Prepare the negative for conversionThis enables inversion and removes the normal tone rendering.
- Calibrate the film base · redMatch the film-base controls to this scan; watch the cast become more neutral.
- Calibrate the film base · greenMatch the film-base controls to this scan; watch the cast become more neutral.
- Calibrate the film base · blueMatch the film-base controls to this scan; watch the cast become more neutral.
- Set the film density rangeDensity range changes how negative densities map into the positive image.
- Adjust print brightnessPrint exposure changes the positive image’s overall brightness.
- Shape the paper contrastPaper grade changes contrast in the converted positive.
- Set the print black levelPaper black adjusts the dark end after conversion.
- Compare the original negativeThe conversion is editable; the scanned source is retained.
- Restore the positive conversionPhoto and film: CC BY-SA 4.0 · Photo: Joachim Braun. Scan-specific settings.
Specialist tool — enable it in Prepare → Customise tools.
What it does. Turns a scan or photograph of a film negative into a positive image. It compensates for the film base and shapes the resulting print-like tone. It is not the Print stock simulation, which starts from an ordinary positive photograph.
| Control | What it changes |
|---|---|
| Prepare negative | Enables negative conversion and disables the normal Tone mapping, Film tone and base-curve transforms so they do not compete with inversion. |
| Film stock | Selects colour or monochrome negative processing. This chooses the type of inversion, not one of the cinema/still simulation stocks. |
| Red / Green / Blue film base | Describes the transmitted colour of unexposed film. For a colour negative this is how you compensate for the coloured base. Set these values manually using a clear border as your reference. |
| Red / Green / Blue shadows | Balances the colour of the dark end of the resulting positive. Adjust the relevant channel when shadows retain a cast. |
| Red / Green / Blue highlights | Balances the bright end. It lets you correct a highlight cast separately from a shadow cast. |
| Film density range | Sets the span of negative density mapped into the positive. Use it to fit dense and clear parts without losing either end. |
| Scan exposure bias | Compensates for how brightly the negative was digitised within the inversion. It is part of the conversion setup, rather than a final creative exposure adjustment. |
| Paper black | Sets the black-density correction for the positive; use it to establish useful dark tones after the film base is correct. |
| Paper grade | Shapes the positive's midtone response and contrast, like choosing a different printing-paper response. |
| Paper gloss | Changes the highlight roll-off: how bright positive values approach white. Use it to retain separation near the bright end. |
| Print exposure | Adjusts the exposure of the positive rendering once inversion and density range are established. |
Try it. Start with a uniformly lit negative containing an unexposed border. Press Prepare negative, choose the correct stock type and set film base before correcting colour. Fit the density range, balance shadows/highlights, then finish with the paper controls. A wrong film base can create a cast that later colour sliders only disguise.
Watch for. Uneven backlighting, glare and clipped scans cannot be repaired reliably by inversion alone. If a Print stock or other creative look is already active, bypass it while establishing the positive. The tool does not read your mind about film-base values or pick them automatically.
AI denoise
Watch AI denoise · 1:00
A complete RAW denoise: ISO 2000 Bayer sample, real local inference, Before/After preview, then Apply saves and opens the resulting DNG. Processing waits are shortened. Silent with captions.
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- AI denoise · a real ISO 2000 Bayer RAWThis public-domain sample contains fine puzzle texture and visible noise.
- Inspect actual pixels100% separates noise from texture. The original RAW stays unchanged.
- Start at 60% strengthThis demonstration runs on CPU. Processing waits are shortened.
- Generate the detail comparisonThe app runs its bundled Bayer model locally on the selected RAW.
- Before · look at the dark outlinesNoise and the fine paper surface are both visible at this scale.
- After · inspect retained textureCompare the outlines and flat colours. Check for waxy detail, not just smoothness.
- Apply creates the full-size DNGThis is an actual completed denoise. Waiting time is shortened.
- The denoised copy opens with editable settingsThe DNG is stacked with its source. Keep the original for another strength choice.
What it does. Reduces noise while developing a supported Bayer or X-Trans RAW into a new linear DNG. The original remains unchanged; the new photo keeps editable colour, crop and mask settings, but its RAW conversion and chosen AI denoise strength are baked into its pixels.
| Control | What it changes |
|---|---|
| Strength | Sets the noise/detail tradeoff. Start near 60%, inspect at 100%, then lower it if fine texture becomes too smooth. |
| Use GPU when faster | Tests Vulkan accuracy/speed and chooses GPU or CPU. Untick to force CPU. Hardware and the selected model affect speed. |
| ISO override | Supplies missing capture ISO for a Bayer input. Leave it empty when metadata is correct; X-Trans processing does not use this conditioning. |
| Preview denoise | Processes a selected area for comparison before committing to a full-size output. |
| Fit / 100% / zoom and pan | Fit shows the area; 100% exposes grain and real texture. Drag to inspect another area. The preview refreshes after moving. |
| Before / After | Compares the same location before and after denoising. Current colour/exposure are shown; crop, masks and other detail effects are excluded from this comparison. |
| Update preview / Show comparison | Recalculates the current preview or reopens an existing one. A preview alone does not create the DNG. |
| Apply AI denoise | Creates an unused DNG filename beside the source, stacks the pair and opens the new copy with your edits. |
| Save copy as… | Creates the DNG at a filename and folder you choose. |
| Cancel denoise | Stops work in progress. |
| Tool Reset | Clears the preview and restores controls. It does not remove denoising already baked into a saved DNG; return through Photo versions → Original to make a different conversion. |
Try it. Preview both a smooth shadow and hair or foliage. Select a strength that calms noise while retaining the texture you need. Apply only after comparing at 100%. If you also plan AI object removal, denoise first, then remove distractions on the new copy.
Watch for. Already-developed linear DNGs and unsupported calibration maps are refused. Full-size floating-point DNGs can be large. The models and runtimes are bundled in current packages; a missing-files message calls for reinstalling the package, not an extra first-use download. Full AI denoise lesson.
Noise reduction
Watch Noise reduction · 0:57
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- Noise reduction · see the starting imageThe RAW is ISO 2000. Compare smooth colour and fine printed detail.
- Inspect noise at 100%At Fit, small noise changes can be difficult to see.
- Choose EverythingThis cleans luminance and colour noise together.
- Increase noise reductionWatch the flat colours become smoother; too much can erase paper texture.
- Preserve more detailKeep detail trades some smoothness for retained fine structure.
- Try Colour onlyThis suppresses coloured noise while retaining more luminance texture.
- Compare the colour-noise strengthUse an obvious amount to see the difference in shadow colour.
- Reset to the photo’s starting settingsReset restores this tool’s normal defaults, including settings changed before this comparison.
What it does. Smooths noise as an editable part of the current photo's recipe. Unlike AI denoise, it does not create a separate DNG. Where available, it uses the camera's measured ISO noise profile; a generic profile is used otherwise.
| Control | What it changes |
|---|---|
| Everything | Reduces brightness grain and coloured blotches together by comparing similar patches. Use this for a visibly noisy high-ISO image. |
| Colour only | Reduces coloured speckle/blotches while retaining brightness grain. Use it when you like natural grain or want to preserve more fine texture. |
| Amount | Controls removal strength. Start at 50, then judge at 100% zoom. Higher settings can soften actual texture. Equal numbers in the two modes do not imply identical colour smoothing. Zero switches the effect off while retaining its saved amount. |
| Keep fine detail | In Everything mode, reduces brightness smoothing to retain hair, fabric and skin texture. Start at 0 to assess removal, then increase it. High settings deliberately leave more grain and can make Everything resemble Colour only. |
| Remove hot pixels | Replaces isolated unusually bright stuck pixels, often noticeable in long exposures. It is a separate sensor cleanup switch, rather than a grain-strength slider. |
| Status dot / Reset noise reduction | Bypass while retaining values, or restore this photo's starting noise-reduction state. A RAW's starting edit may already include colour-noise cleanup. |
Try it. At 100%, compare Off, Everything at Amount 50 / Keep fine detail 0, and Colour only at Amount 50. Then raise Keep fine detail until useful texture returns. Check smooth dark areas as well as detailed ones.
Watch for. Fit hides both noise and smoothing. Noise that remains because Keep fine detail is high is not evidence that the Amount slider needs unlimited power. Applying strong standard denoise on an already AI-denoised DNG may remove useful detail.
Capture sharpening
Watch Capture sharpening · 0:44
Silent, with on-screen explanations; processing waits are shortened.
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- Capture sharpening · see the starting imageCapture sharpening acts early in RAW processing, before the other detail tools.
- Look at native detailCompare the same branches and edges at 100%.
- Switch capture sharpening offWatch the finest focused boundaries; this is a subtle correction.
- Switch capture sharpening back onIt compensates for slight capture softness. It cannot refocus a blurred photograph.
- Compare once more at the same zoomDo not mistake a larger viewing scale for a sharper result.
- Leave the early sharpening enabledUse later Sharpening only if the finished image needs more edge contrast.
What it does. Compensates for lens/sensor softness at the RAW conversion stage, before later edits. OmaRAW measures its radius automatically. This tool is a single switch; the RAW conversion algorithm is not a menu choice here.
| Control | What it changes |
|---|---|
| Capture sharpening | Enables or bypasses the early sharpening. Available for suitable RAWs, not an already-developed JPEG. |
| Tool Reset | Restores the starting state. RAW automatic first edits commonly have capture sharpening enabled. |
Try it. Compare a well-focused hair, fabric or leaf edge at 100% with the switch off and on. Leave it on if it improves definition without making noise or edge artifacts objectionable. Use Detail → Sharpening for an additional later edge adjustment.
Watch for. Sharpening cannot recreate missed focus or eliminate motion blur. Denoising, texture and additional sharpening all affect apparent detail, so judge the combination.
AI object removal
Watch AI object removal · 2:00
Silent, with on-screen explanations; processing waits are shortened.
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- Removal generates replacement pixelsUse it for distractions, then inspect the result carefully.
- Open AI object removalThe current photo will retain editable repairs.
- Select the cup for this demonstrationClick the object or drag a close box.
- Review everything the selection includesShadows and reflections may need extra brush coverage.
- Switch to BrushThis paints the exact removal area; right-drag erases.
- Include the shadow under the cupLeaving a shadow can reveal the removed object.
- Edge coverage expands the selected marginThe blue overlay includes that margin.
- Preview removalProcessing is local on CPU. Waiting time is shortened in this film.
- Compare with the original areaLook for repeated texture, seams and leftover shadows.
- This preview leaves an obvious soft remnantReject a poor fill instead of assuming a completed preview is a good repair.
- Clear this trial without applying itTry a smaller distraction: the dark mark on the tabletop.
- Paint only the small markBrush can select a removal directly without an AI object prompt.
- Preview this smaller repairThe cup stays; only the small selected mark is replaced.
- Inspect the result before accepting itCheck texture and the boundary, then judge the whole photograph.
- Apply removal to this photographThe repair is saved; other adjustments stay editable.
- The next selection is readyYou can remove another object, including an overlapping area.
- Bypass all object removalsThis preserves the saved repairs for comparison.
- Restore the repairsReset removals clears them, with Undo available.
- Keep editing colour and geometryRepairs follow later changes. Save rendered DNG is an optional baked copy.
What it does. Generates plausible replacement pixels inside a selection and saves an applied result as an editable repair on the same photo. Use it for distractions that are difficult to heal from a nearby clean source. It cannot recover what was actually hidden behind an object.
| Control | What it changes |
|---|---|
| Object removals | Bypasses or restores the applied repairs together. |
| Select object | Uses clicks, exclude clicks or a box to suggest the unwanted object to the selection model. |
| Brush | Paints the removal area directly or includes a missed shadow, reflection or edge. Right-drag removes coverage. |
| Brush size | Sets brush radius as a percentage of the photo's long edge. |
| Edge coverage | Expands the selected area to include fringes. The blue overlay shows this margin. |
| Use GPU for selection | Enables optional Vulkan selection acceleration. Removal generation itself currently uses CPU. |
| Undo selection / Invert / Clear | Steps back through the draft selection, exchanges selected/unselected areas, or starts a new draft. These are different from Undo for a saved repair. |
| Preview removal | Generates a result for inspection. It is still a preview. |
| Show removal preview | Compares the preview with the image before this draft repair. |
| Apply removal | Saves the repair in an Undo step and prepares the next selection. Repairs can overlap and follow later colour/crop/geometry edits. |
| Save rendered DNG… | Saves a separate baked rendering. This optional output differs from applying an editable repair. |
| Reset removals | Clears applied repairs; Undo can restore them. |
| Cancel | Stops the current selection/processing operation. |
Try it. Remove a small mark first. Include its edge and any shadow, preview, and inspect at Fit and 100%. Look for repeated textures, bent lines and a boundary that is too smooth. Apply a good result, then work on the next distraction.
Watch for. A successful calculation can still make an implausible repair. Redraw or use Heal/Clone if the result is unsuitable. Keep managed repair data with catalog backups. Full removal lesson.