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Everything posted by kirkt

  1. @Gregory Chalenko If you want to create a grayscale image from the Spare Channel there are a couple of ways, one of which may be better than the other for your application: 1) Make a new pixel layer and fill it with White - we will call this new layer "BlankLayer." 2a) Right-click on the Spare Channel that you have stored and select "Load to BlankLayer Red" - repeat but select "Load to BlankLayer Green" and ""Load to BlankLayer Blue." Now you have a grayscale pixel layer that is a copy of the Spare Channel. You can make a Macro that will do the sequence of steps. or 2b) Right-click on the Spare Channel and select "Load to BlankLayer Alpha." The Spare Channel will be transferred to the BlankLayer Alpha channel. In the Channels panel list, right-click on the BlankLayer Alpha channel and select "Create Grayscale Layer." In this case, the BlankLayer is a temporary layer that you use to hold the Alpha channel so you can make the grayscale image from it. I suggest that you right-click on all of the channel thumbnails in the Channels panel and see what options each one has - there is a lot going on there, but it is sort of hidden until you realize that the options exist! Also, even though these work-arounds require additional button presses and steps, I think that all of the steps are able to be recorded in a macro, so you could automate the process by recording a Macro. Kirk
  2. You're welcome. It has taken me a while to get my brain around how channels in AP work and redo a lot of muscle memory from using PS for decades. I still use both applications, and I understand how you feel! kirk
  3. @Gregory Chalenko A couple of thoughts in the meanwhile - 1) You can reset the view from individual channels to the composite by clicking on the clockwise circular icon with the arrowhead in the upper right of the channels view. 2) You can replicate your mask construction process in AP but it works a little differently, partially because channels and masks work differently in AP compared to PS. a) Starting with your source image, make a duplicate of the image layer upon which you want to base your mask (CMD-J) and make this layer active. We will call this the "LayerForMask" in the layer stack. b) Inspect your channels to see which one (or a combination of more than one, in overlay mode as you demonstrate in your YouTube clip) you want to use as the basis for your mask. c) If you want to combine channels in Overlay mode, for example: With the "LayerForMask" as the active layer, go to Filters > Apply Image... and choose to "Use Current Layer As Source." Set the Blend Mode to "Overlay." Finally, select the "Equations" check box - let's say in this example, you want to combine the Green and Blue channels in overlay mode like you do in PS using Calculations. Here you will set "DG = SB" [Destination Green equals Source Blue) and "DB = SG" - you are basically switching the two channels and combining the result in Overlay mode. This will give you a high-contrast result in the G channel that you can use as the basis for the mask. d) Click on the Composite Green channel in the Channels panel of the resulting image that now occupies the LayerForMask layer - this will display the grayscale result of the operation you just performed, and you can inspect the result to see if it is satisfactory to use as a mask. This is because the top layer in the stack is the result of the Apply Image process (therefore, the Composite layer is the top layer and you can view its channels). Also take a look at the Blue channel. In this example, suppose you want to use the resulting Green Channel as the basis for your mask. e) Below the Composite layer channels in the Channels panel will be the LayerForMask channels listed. In this case we want to use the Green channel for our mask, so Right-Click on the Green channel for this layer and select "Create Grayscale Layer" - this will create a grayscale copy of the Green channel at the top of the layer stack. This is a pixel layer that you can edit with all of the tools like dodge and burn, etc. to construct and refine your mask. We will call this "WorkingMaskLayer." f) Once you have perfected your mask on the WorkingMaskLayer, this pixel layer can stay in the layer stack for further editing if you want, or stored as a spare channel, etc. In any case, in the Channels panel, Right-Click on any of the channels in the WorkingMaskLayer and select "Create Mask Layer" - this will create a new Mask Layer out of the grayscale image from WorkingMaskLayer and you can drag the new mask layer onto the layer to which you want to apply the mask. A Mask Layer is a special kind of layer in AP - it is similar to the layer mask layer that is attached to a layer in PS, except it is a separable element that you can move up and down the layer stack and nest with other layers. You can edit and paint on a mask layer as well, if you prefer to refine your mask that way - you can view the mask itself (instead of its effect on the layer stack) by OPT-Clicking (ALT-Clicking) on it, just like in PS. Kirk
  4. It is available in the lensfun database, just add it yourself! See: https://affinity.serif.com/en-gb/tutorials/photo/desktop/video/330446061/ Here is a link to the GitHub lens fun database: https://github.com/lensfun/lensfun/tree/master/data/db Incidentally, how much distortion is there at those focal lengths? Kirk
  5. In the meanwhile, it is easy to do with exiftool: exiftool -ProjectionType="equirectangular" photo.jpg # 'photo.jpg' is the photo you want to tag See: https://facebook360.fb.com/editing-360-photos-injecting-metadata/ Kirk
  6. You should take a look at 3D LUT Creator. It does exactly what you want. It is currently designed to integrate with PS to pull images from and pass LUTs to the working PS document. I will email the app’s creator and see if he can include the same integration with AP. See this example: kirk
  7. It's not fully automagic, but may work for you:
  8. Having read through the entire thread, maybe the folks requesting "support" for a CC card could be more concise about what, exactly, they mean. There appears to be at least two different requests in the thread: 1) Support for making, or at least implementing previously made, custom DCPs or ICCs in a manner similar to how Lightroom/ACR and similar applications support custom camera profiles for raw image conversion; 2) Support for live color correction based on importing an RGB (i.e., not raw) image of a CC card and placing a grid over the card patches, resulting in AP's automagically performing color correction based on known reference values (or custom values provided by the user) of the card (like Davinci Resolve does). Obviously these are two very different things and there are solutions outside of AP that will perform these tasks with results that can be brought into AP for further editing. Maybe the folks with an interest in this request can elaborate on what they mean when they are asking for AP to "support" a CC card. Make and import/use DCPs or ICCs during raw conversion based on a raw image of a CC card? Produce a live LUT based on an RGB image of a CC card and be able to apply/export that LUT for batch processing? Both? As it currently stands, the Develop persona in AP is a weak point in the grand scheme of the application, so one is probably better served by converting raw files in another application that supports DCP/ICC profiles, batch processing, etc. In terms of providing live color correction based on a reference RGB image of a CC or similar card, it would seem like this would be a great addition to the LUT adjustment layer - a button on the layer dialog that would permit you to load a reference CC image, specify that reference card from an AP database of cards (for example the CC Passport), place a grid on the reference image and hit the "OK" button. The result would be a LUT in the layer stack with the custom adjustment applied via the layer. It would be great if you could also export that LUT for future use, batch processing, etc. directly upon construction of the LUT, as opposed to the Export LUT... option that currently exists (to avoid extra steps). It would be useful if the user could provide a .CIE file for custom reference targets and add the CIE file and the grid configuration for that custom reference card to the database of reference cards. kirk
  9. @Roland Rick Nothing happens when you offer the levels adjustment to the recolor adjustment because it makes no sense to adjust the levels of the recolor adjustment. All adjustment layers have a built-in mask, as you know; however, you do not need to use that built-in mask to dictate where your adjustment gets applied selectively. You can add a mask to the adjustment layer that behaves just like a regular old mask on a pixel layer and sits in the adjustment layer as a child of the adjustment layer. In your case, let's say you want to change the color of the insect's eyes with a Recolor adjustment - apply the Recolor Adjustment layer in the layer stack, tweak the settings and then - INSTEAD of painting on the built-in layer mask, ADD a mask to the Recolor adjustment layer just like you would with a pixel layer mask. That mask should appear as a child of the Recolor Adjustment. Cool. Even easier, OPTION (ALT) - Click on the add mask button to add a mask that is all black so you can hide the adjustment by default and then just paint with white to reveal the Recolor adjustment on the eyes. OK, so far so good. Now, you decide you want to add some extra adjustment to the same exact region - for example, your Levels adjustment, again, just to the eyes. Add the Levels adjustment to the stack and make the tweaks to the eyes. Of course, this affects everything in the stack below the Levels adjustment. Select the Levels Adjustment and the Recolor adjustment and make a new Group out of those two layers. Because the mask you created for the eyes is a regular mask and not the built-in mask, you can just drag the mask out of the Recolor layer and drop it onto the Group icon. Now it masks the entire group. It does not matter if you offer it to the group folder thumbnail (a clipping mask) or to the Group text (a regular mask). It will act the same. If you do not want to group the adjustments and use a single mask applied to the group folder, you can just select the mask in the Recolor layer and copy it (CMD-C) and paste it (CMD-V) and then drag that new copy of the mask to the Levels layer, if you want each adjustment to have its own copy of the mask applied. In PS, you would just hold down OPT and drag a copy of an existing mask on an adjustment layer to a new adjustment layer - AP does not offer this shortcut as far as I know. Bottom line - add a mask to an adjustment layer, instead of using the built-in mask, and then you don't need to mess with creating spare channels and targeting the alpha channel of each adjustment layer's built-in mask. Even with the added mask applied to the adjustment layer, you can paint on the built-in mask to add to the selective application of the adjustment. This is similar in PS to applying an adjustment layer, adding a mask, painting on the mask and then adding just that single layer to its own group so you can add another mask to the group. This was a very wordy description for a very easy and quick process, but it gets to the heart of the issue, which is that Affinity Photo's masking and layer structure behaves differently than Photoshop's, and reprogramming muscle memory from PS to AP takes some effort - I'm still trying to undo decades of PS thinking and wrap my head around AP's different process. Have fun! Kirk Here are some tutorials that will help:
  10. Node-based UI and workflow for AP. It would be so good. Kirk
  11. While I do not profess to know how AP is structured under-the-hood (bonnet!), it seems like a lot of the tools are implemented in a real-time, live way that seems as if they would work in a node-based workflow. For example, the node editor in Blender or Davinci Resolve. If this is the case, it would be an incredibly terrific feature if the user could select between the current "traditional" interface and workflow for AP, or a node-based interface. I would love to be able to create an image-processing pipeline with a network for nodes with preview renders along the way to see each stage of the workflow and variations of the node chain. It would be terrific if node groups could be saved as "presets" that became single nodes themselves, which could be expanded and the contents exposed for tweaking and customization. Please consider this approach, if it is possible. Rendering low-res preview proxies during node assembly would hopefully be a lot less taxing on the interface than the current full-res rendering of Live Filters that tends to get laggy when there are even a modest amount of layers in the stack. You could save full, non-destructive workflows as a pre-built node chain, you could have a single node chain branch into multiple variants, and have a batch node that feeds an entire directory of images into the node chain for processing. Maybe even macro nodes, etc. It would be so much more flexible and serve to further differentiate AP from PS. The output of the node-based workflow could be fed into the "traditional" photo persona (a Photo persona node) for local, destructive edits, painting on masks, etc. One can dream.... LOL Thanks for pushing the boundaries with your applications. Kirk
  12. Thee are usually a bunch of different ways to do things, I agree. Apply Image must be partially broken in Lab equation mode on the Mac in V1.7.2. I can use Lab equations (DL = SL, Da = 0.5, Db = 0.5 - if you do all SL, you get a color image that reflects the mix of the a and b channels) to generate the equivalent of the L* channel. Let's say I want to apply a Curves adjustment through an inverted L* mask, a typical task to boost shadows or target shadow tones for color correction, etc. So I have a layer stack that has the working image (background layer) and a curves adjustment layer above it. Recall that adjustment layers have their own inherent mask built in. So, I select the Curves adjustment layer to make it active (the target of the Apply Image command): 1) Open the Apply Image dialog (Filter > Apply Image) 2) Drag the background layer onto the dialog box to make it the source of the Apply Image operation 3) Use Equations - DL = SL, Da = 0.5, Db = 0.5, DA = SA And apply image. The result gets applied to the mask of the Curves adjustment, but the resulting image is distorted and scaled up and is not the L* channel of the background. (see attached screenshot). To make this work properly, I have to create an empty pixel layer and generate a pixel-based representation of the L* channel - i.e., new pixel layer, fill it with white, then do the apply image operation to generate the L* channel on this pixel layer (the second screenshot is what the L* channel should look like). Then I have to rasterize it to a mask, then drag it to the curves layer. That is a lot of steps for a simple operation. The use of the Levels filter with your settings at the top of the stack will also generate the desired L* output, but then you have to stamp the layer stack, rasterize the resulting pixel layer and then apply it as a mask. It is a nifty way of doing things though. I prefer the Duplicate Image method because I can work in Lab mode with Lab tools to choke the mask, etc. and then simply apply the L* channel to the working master image (to an adjustment layer or as a pixel-based layer, etc.) when I am finished in the duplicated image. I can also leave the duplicate image open and tweak the operations and reapply the result to refine or edit the result for use in the original. Kirk
  13. I second this request. The Photoshop equivalent is Image > Duplicate and is useful for myriad tasks, especially when you want to perform an action or a color mode change for a particular purpose and then introduce the result back into the master working document without having to Save As... and create another file in the OS (for example, you would like to create a mask from the L* channel of your current RGB document - dup the current RGB document, change the dup's mode to L*a*b*, and Apply Image > L* channel to the RGB doc's active layer as a mask). The duplicated version is simply a document that exists in memory and is usually something that is temporary or can be saved after the fact if that is its intended purpose (for example, if you create an action that duplicates the master document, flattens it, reduces the size and performs output sharpening and color space change for output). This seems like a no-brainer and I am repeatedly surprised after major updates that AP has not implement this. Kirk
  14. You can export 16bit TIFFs of each channel from Raw Digger, using the option to fill in the missing pixels with zeros (black). Then you can open each of the four channel TIFFs (R, G1, B, G2) and convert them to 32bit (they are linear) and stack them in linear dodge (add) mode - for each of the four layers, you can clip a recolor layer to add the CFA color that corresponds to that layer. This will effectively give you a UniWB image - you can clip an exposure adjustment to the R and B layers and adjust the exposure of R and B to white balance the image. kirk
  15. You will have to use Adobe DNG converter on a PC or Mac desktop - there is no iPad version. However, you can batch convert RAFs from your older S5000 and then make them available to your iPad through a number of different transfer/storage paths, including iCloud, Dropbox, a WiFi accessible drive, Airdrop, etc. Once you convert your files to the appropriate form of DNG and upload them to your preferred storage/iPad accessible location, you are good to go. Easy peasy. Astropad is simply an application that permits you to use your iPad as a second display, a feature that the upcoming MacOS will have built into it. It does not permit you to transfer files to the iPad, etc. kirk
  16. I was able to convert the raw file in AdobeDNG Converter using some custom settings: (Change Preferences > Custom (Compatibility) > Backward Version DNG 1.1, Linear (demosaiced). Play around with the custom compatibility settings to see what works best for your workflow. In this example the raw data were demosaiced, so the file has been rotated appropriately. Attached is a screenshot of your raw file, converted to DNG, opened in the Develop persona. Here is a Dropbox link to the converted DNG: https://www.dropbox.com/s/0rfzunzpx8jxk6i/DSCF2600.dng?dl=0 kirk
  17. Ok - the camera uses the Fujifilm SuperCCD, which has its quirks. I was able to use a Mac desktop application called LumaRiver HDR (meant to blend raw exposures into a single HDR DNG, TIFF or EXR). This application must use a more robust technical implementation of the DNG API, because I was able to open your raw file in it and then export a DNG from it that I was able to open in AP on my iPad. Here is a link to the DNG: https://www.dropbox.com/s/rfdzu8z3fi9ty1r/testDNG.dng?dl=0 and attached is a screenshot of the DNG opened in the Develop persona in AP on the iPad (Import from Cloud, loading the file from my Dropbox). The image is rotated 45 degrees because of the orientation of the photo sites on the sensor of the SuperCCD. kirk
  18. The Fujifilm Finepix S5000 is a pretty old camera. There is a raw converter for MacOS and iOS called Photo Raw - here is the camera support webpage: https://mcguffogco.freshdesk.com/support/solutions/articles/8000063657-supported-cameras the list of supported cameras includes the S5000; however, I cannot open your file with Photo Raw. Perhaps the file itself has an issue that is causing applications that would otherwise support it to fail to recognize the file format or open the image. Do you have other raw files shot with this camera available to test, or, even better, do you still have the camera and can you update it to the latest firmware and shoot some test images to try? kirk
  19. @Rob Chisholm Bummer. Obviously it would be nice to have AP work properly on the iPad, but in the interim you might want to try using Raw Power as a raw converter for iPad. It is made by the former lead of the Apple Aperture application and has a similar control UI. kirk
  20. I had the same issue with my new iPad and my x-h1. Restart your iPad (shut it down and turn it back on). Then try again. Worked for me. I found this solution in another similar thread in the forum. The mod was puzzled as to why it worked, but it worked. Who knows what the iOS is doing to adapt to the user in the background. Kirk
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