No reliance on scanner or camera output profiles, nor on negative film characterizations. Although these can be powerful tools, their use in negative inversion can be risky.
If an input profile has been baked into the scan data—assuming it's a perfect one—that's final; Negatop will nonetheless remove any embedded output profile.
For digital camera scans, RAW demosaicing is kept to an absolute minimum to produce a TIFF as neutral as possible (linear gamma 1.0, RGB multipliers at 1).
The only color profile Negatop depends on is the Photoshop working space, which you are free to set. AdobeRGB (1998) generally offers a good balance.

The removal of the dye-mask, which follows a very specific logic, is performed after selecting an area that includes the film rebate. If the scan is already cropped, Negatop will infer the color to compensate.

The Negatop algorithm operates on an area that excludes rebates, mask holders, and scanner glass.
This frame is automatically detected and ajustable.

Consistent results even with expired film, incorrect exposure, or exhausted chemical baths. Manual color balancing of an inverted negative is time consuming and often disappointing. Every scan is a unique case—Negatop adapts to all of them.

The final tuning of white balance, contrast, and density is always done manually — but it becomes a pleasant and quick step when working with a properly inverted negative.

A color enhancement that preserves both highlights and shadows.

All adjustments are done in editable layers for full reversibility. Save the PSD or PSB unflattened to keep the original data intact.