Last update September 22, 2023
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About the Customize tab

The Customize tab in DxO FilmPack contains all of the image correction and processing tools, both in color and black and white. It also complements the use of presets and different image renderings offered by the program, which you can modify to your liking here.

The Color/B&W switch

The Color/B&W switch allows you to switch between color and black and white image processing modes, with some common tools and a few specific tools. Here’s how it works:

The Film palette


The Rendering palette lets you choose the type of film you want to simulate. By default, the scroll list is set on No film rendering. The list of film renderings is split in several categories you can open by clicking on them.

Unlike the Presets panel in which you click on a thumbnail to apply all of the characteristics of a particular film rendering, the Customize tab lets you apply the film rendering and grain characteristics separately.


As part of the photographic emulsion process, metallic silver salts (or other colorants) are grouped in clusters of different sizes and shapes. When exposed to light, these clusters generate random variations in light intensity: the larger the clusters, the stronger the variations, making the grain more noticeable when looking at the emulsion. Grain has a direct link to sensitivity: a highly-sensitive (i.e., high ISO) film is one that has large clusters of salts that are more likely to be modified when the film is exposed to light.

The Film grain palette lets you apply and fine-tune silver halide grain by using the following tools:

When you click on Current film rendering, the grain of the film currently selected will be used. You can also choose to eliminate the grain by selecting No grain.

You can use the Luminance slider in the Noise removal palette to completely smooth out the noise from an image and then substitute a more aesthetically-pleasing silver halide grain.

Adjusting the size of the grain
If you want to simulate a film as closely as possible, you will need to take into account the enlargement size to apply to a negative when processing the film for paper print production. Indeed, if two negatives, one 24×36 mm in size and the other a map film of 10×12 cm, had an identical grain, and the two were printed on 30×40 cm paper, the enlargement size would more than 10 times for the 24×36 mm and only 3 times for the 10×12 cm. Thus a print of a photo made from a 24×36 film negative shows a lot more grain.

To deal with this variable, the Film grain palette contains a drop-down menu called Size, where you can choose a pre-determined film
negative size from 24×36 to large format, or manually create a custom format size. In the latter case, you can specify the Grain size by using the dedicated slider and selecting a value ranging from 1 to 10.

Split toning

In a conventional photo print, the image is formed from silver crystals: the more numerous or large the crystals, the darker the image. Toning is an old process that consists of replacing the silver crystals with various metal salts or silver-free colorants. The goal is both purely aesthetic (more subtle midtones, denser shadows) and practical (long-term print preservation).

Toning choices

Choosing a toning depends on the Highlights and the Shadows tones. Each one is provided with a palette of tonings, thus allowing you to combine different tones for the light and dark parts in your image.

By clicking on the Highlights or Shadows buttons, a palette will appear with different-colored buttons representing the tints that are available to apply. (When you hover over any of the buttons, a tool tip will appear with the name of the toning.) The tonings offered for both the light and dark tones are strictly identical, and you can mix and match them according to your own tastes:

Once applied, you can modulate the toning by using the following sliders:

Creating and storing custom tones

The palette for both light and dark tones also allows you to store custom hues. To do this, first make your adjustments with the Hue, Saturation and Intensity sliders and then click on the + button in the palette to add your hue.

To delete a memorized hue, right-click on its tile and click on Delete in the floating tooltip.

Other Split Toning tools

The Split Toning palette has some additionnal tools to help and to refine the corrections:

The Development palette

The Development tools allows you to make both basic corrections, such as brightness, contrast, white balance, and color, as well as very precise corrections, according to brightness ranges. It also contains the correction tools that are automatically applied when opening RAW files.


The Light section handles the following corrections:

Color (Color mode)

Luminosity Masks

The Luminosity Mask allows you to correct an image based on a range of brightness that you can adjust with very high precision, including at the transition level.

Top : Luminosity mask for highlights, bottom : Luminosity mask for shadows

Interface of the Luminosuty Masks palette

The palette is organized as follows (from top to bottom):

  1. Pick range eyedropper:First, click on the Add new mask button (the “+” button) to activate the Luminosity Mask tool, then click on the eyedropper and click in the image to select a luminosity range. You can click and repeat the sampling as many times as you want.
  2. List: Shows the list of the luminosity mask:
    • In alphanumeric order (mask #01 is on the top). It is not possible to rename a mask.
    • Opacity value in %.
    • When hovering a mask in the list, an eye icon shows, to deactivate/activate the mask in the picture (including the relevant corrections).
  3. Buttons below the list (from left to right):
    • Add new mask “+”: Creates a new mask. The new mask will have no corrections applied.
    • Duplicate selected mask: The duplicated mask will have the corrections of the source mask.
    • Invert selected mask: The area of the mask in the picture will be inverted (if the sky has a mask, the mask and the relevant corrections will be applied to the ground).
    • Reset the selected mask: Sets the applied corrections to zero.
    • Delete selected mask: Removes the mask and the relevant corrections from the list and the picture.
  4. Opacity slider: You can refine the luminosity mask and the associated corrections by using the slider, which is set to its full value (100) by default. To reduce the effect of the selected mask, move the slider to the left.
  5. Mask range: 11 luminosity zones to select a brightness range easily, by clicking on one of the tiles, from the darkest (0) to the brightest (10), the middle values being, of course, at 5.
  6. Trapezoid: in addition to its role of indicating the selected brightness range, you can adjust it by moving the trapezoid in the scale.
  7. Correction tools associated with the luminosity mask: All the sliders spread in the White Balance, Contrast and Light sections behave exactly the same as their global counterpart.

Refining the Luminosity Mask

No matter which method is used to determine the luminosity range, you can refine it using the following tools:

Thus, by acting on the position and extent of the trapezoid, as well as the extent of the fall-off, you will arrive at an extremely precise selection of the range to be corrected.

Add to or subtract from the Luminosity Mask

You can go even further in the precision of the Luminosity Mask by adding to the selection with the Brush, or by subtracting from the selection with the Eraser.

When the Luminosity Mask tool is active, you will find a toolbar at the bottom of the window. The toolbar includes the following items (from left to right):

  1. Brush and Eraser buttons: Click to select the tool you need.
  2. Settings checkbox: displays/hide the Brush or Eraser settings, which are:
    • Size: Adjusts the diameter of the Brush/Eraser.
    • Feathering: Sets the edges (harder to the left, softer to the right) and, therefore, the way the stroke edges blend into the image.
    • Opacity: Adjusts the intensity of the strokes.
  3. Show mask: Toggles the colored mask display on or off.
  4. Mask opacity: The slider adjusts the intensity of the colored mask display.
  5. Mask color: By clicking on the box, you will open your system color palettes, where you can choose another color for your masks to display.
  6. Reset: Resets all the settings and corrections.
  7. Apply: By clicking on this button, all masks and associated corrections will be applied to the image. You can modify your luminosity masks anytime by reactivating the tool.

In order to add to or subtract from the selected luminosity mask:

Subtracting from the mask (in red) with the Eraser tool (grey disk).


The Contrast palette acts on the contrast — that is, on the gap between the bright and dark tones, as well as on the micro-contrast, which boosts details and textures in an image:

The Contrast slider values range from –100 to +100, with the default value set at 0 (that is, no correction). For the Micro-contrast and Fine contrast sliders, the values 0 to +100 (slider to the right) progressively boost the details in the image. By contrast, the values from 0 to –100 (slider to the left) diffuse the details.

For a more selective micro-contrast correction, you can use the following sliders:

White balance

Regardless of its origin (artificial or natural), light usually appears white to our eyes. It is, however, nothing of the sort. Even daylight can contain strong blue dominants, particularly in shadows or when the sky is overcast. At the other end of the spectrum, incandescent bulbs have a yellow cast, while fluorescent lights produce complex green casts.

Adjusting white balance serves to correct these undesirable light dominants:

Adjusting the slider affects all the colors of the picture. Therefore, it is important to adjust the white balance before any work on the colors.

Hue, Saturation, Lightrtness (HSL – Color mode)

The HSL sliders are split into 3 palettes.

The HSL system makes it possible to correct each color for three parameters (Hue, Saturation, Luminance). This correction applies to:

The Hue-Saturation-Luminance palettes allows you to choose which color channels to work on:

After choosing a channel, you can use the following controls:

Channel Mixer (B&W mode)

The Channel mixer lets you adjust and fine-tune the black & white conversion according to your taste by acting on the additive colors (i.e., RGB: red, green, and blue) as well as on the subtractive colors (i.e., CMY: cyan, magenta, and yellow).

You can think of the Channel mixer as a set of fully-configurable filters. Although the filters in the Filter palette are limited both in hue and intensity, the Channel mixer lets you create any combination of colors at any level of intensity. To use the Channel mixer, you will need to evaluate which channels are too bright or too dark, and then move the corresponding sliders in the desired direction. For example, if your image contains yellow elements, you can move the Yellow slider to the left to darken them, or to the right to brighten them.

Each channel can affect other close colors, so adjust your settings little by little while watching the effects they have on your image.

Tone curve

Enhancing contrast with the Tone curve.

The Tone curve lets you act either on the overall contrast in the image (RGB button), or on each color channel for red, green, or blue (R, G, or B buttons), in order to diminish or reinforce the color dominants.

Neutralizing a color cast with the Tone curve.

You can use your mouse to adjust the curve, and apply the points by clicking on them either for partial corrections or corrections that are limited to just one part of the image.

To reset the curve, click on the Reset all button.

Automated corrections

Top: Full automated corrections applied, bottom: Automated corrections partly applied.

The Automated corrections palette handles the following settings, depending on the type of file:

These corrections are displayed as buttons in the Automated corrections palette, and are displayed depending on the type of file and the automatic correction support offered by DxO FilmPack. You can deactivate/reactivate an automatic correction by clicking on the relevant button.

  • The noise removal method is the same as HQ (High Quality), the standard denoising in DxO PhotoLab.
  • In DxO FilmPack, the DxO Optics Module corrects vignetting, distorsion and color fringes. However, to the contrary of DxO PhotoLab, it doesn’t apply Lens softness (optimized sharpening).
  • From DxO FilmPack 7, all new pictures opened in the standalone version of the program use the DxO Wide Gamut color working space, which is also the DxO PhotoLab (version 6 and onwards) default color working space. For the plug-in version, the color working space is set by the host program (Lightroom Classic, Photoshop) preferences.

Graphical effects


You can apply different frames or effects to the edges of your images:

A frame placed outside an image increases the image’s dimensions.


The Texture palette lets you simulate scratches and tears on films:

Light leak

The Light leak tool simulates the problems that occur along the edges of photos due to aging or to accidental exposure of the film cartridge to the light:

Lens effects


Yellow filter applied to a B&W picture reinforces the contrast.

About filters

Front-of-lens photographic filters fall into three categories:

Available filters

A certain number of effects filters (shown in the list below) are available in the Filter drop-down menu. You can increase or diminish the effects of a filter by using the Intensity slider that automatically appears after you’ve selected it.

Creative vignetting

Vignetting is an optical defect that results in the peripheral zones of an image being darker or lighter than the center of an image. But this defect can also be used in a creative way to focus attention on the subject at the center of the image:

DxO FilmPack lets you de-center the effect so as to adapt it to the position of the subject in the image.

The Creative vignetting palette lets you create these effects by using a combination of the following sliders:


Soft focus vignetting, like Creative vignetting, lets you apply an effect along the perimeter of the image; however, this setting creates a more or less blurred border effect in order to draw attention to the (in-focus) principal subject:
The Blur palette contains two tools: Vignetting, for creating a blur vignetting effect around a subject, and Soft Focus, to create and diffuse effect for the entire image.


The Blur/Vignetting palette contains the following sliders:

Soft focus

Soft Focus lets you create and apply a diffusion effect to give a dreamlike quality to your image.

The Blur/Soft Focus palette consists of two sliders: