# kirkt

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1. ## curves in/ out min/max

To bring up the 32 bit color chooser, double click on the circlular color patch in the chooser to bring up the dialog in the image I posted above. Kirk

3. ## curves in/ out min/max

To experiment with this feature of the Curves adjustment, try the following: Make a new document - 32bit. This gives you an unbounded (not constrained between 0 and 1) working document. Now, use the rectangle tool, or whatever, and make a box and then use the color chooser to make boxes with various exposures. I have made one for you - you can download the .aphoto file here: https://www.dropbox.com/s/8l13orpca6xr8x1/Unbounded.afphoto?dl=0 The example file has a large rectangle that is 0EV and four rectangles below 0EV (-1, -2, -4, -8) and four above 0EV (+1, +2, +4, +8). In 32bit color, you can express these values in "intensity" (like log photographic exposure or stops) or in floating point (FP) values. Normally, a bounded working document has all values between 0 (black) and 1 (white). An unbounded document can have any intensity values - presumably even negative ones. The 32bit document is linear, so doubling the FP value doubles the intensity, equivalent to increasing by 1 photographic stop, or EV. The Color Chooser in AP takes on a special form in a 32bit document, permitting you to choose "color" (RGB values) and intensity (in Stops). You can also dial in both using the FP values. The relationship between EV and FP values is: FP Value = 2^(EV). To visualize values beyond the display range, you can use the 32bit preview tool (Studio > 32bit preview). Slide the Exposure slider to adjust the range of values displayed in your 32 bit document. You will see that the current document shows you the rectangles that are in the range between 0 and 1. Dial in negative exposure and you will see the upper +EV rectangles appear. In the document I provided, there is a curves adjustment layer at the top of the layer stack. You can use the min/max input values to specify what range of FP values you want to comprise the lower and upper bounds of your curves adjustment. Try setting the max input to 0.25 and pulling the white point node down to the horizontal axis (0 output). Notice that only the squares that have a FP value <=0.25 are affected. Etc. This way you have a true 32bit curves adjustment that you can control the range of input values that get affected in 32bit mode. Totally cool!
4. ## Grain Effect using Equation Filter

Yes, you can scale the effect in the equation with a constant - you could even make one of the three parameters (a, b or c) the scaling factor and expose that also, allowing a user driven range for the slider max! I sort of forgot about this thread I was so busy last week. Glad I stumbled back into it! kirk
5. ## [APh] Version 1.6 - suggested additions

A 16 and 32-bit color readout option in the info panel would be terrific and work hand-in-hand with the unbounded input min and max feature in the Curves adjustment. kirk
6. ## Grain Effect using Equation Filter

I'm glad you are able to edit it! Yes, this implementation of Macros will make for some interesting extensibility of AP. kirk
7. ## Grain Effect using Equation Filter

No problem. I probably should have removed those things, but this way the user, at least at this stage in the development, is cued to recall the default value - in case they forget and want to go back to the default. Can you edit the macro? If so, you can click on the gear icon next to each control I exposed to bring up the rigging controls. Click on the eye to un-expose the control, then click on it again to re-expose it - this should give you the opportunity to rename to control that appears in the dialog. This way you can customize the control names. Have fun! kirk
8. ## Grain Effect using Equation Filter

Note that I have found that the default values for the Gaussian Blur live filter changes automatically with the size of the image when you first run the macro. That is, if you load a large (say full-res dSLR) image, the blur radius is larger than if you load a smaller res image. You can always change the blur radius during the macro dialog or after the fact, as the GB layers are live filter layers. Also, when working on an image, I would suggest working on it at final export size. Play around with getting the look you want and then changing the document size to see how that affects the grain. You can experiment with stamping the stack prior to resizing - this will create a pixel layer with the look burned in - the grain will get resized during image size changing. You can also leave everything live, resize, and then adjust the GB layers accordingly to reestablish the look at the smaller size. Then export. I found this approach worked better. kirk
9. ## Grain Effect using Equation Filter

Soft/coarse grain:
10. ## Grain Effect using Equation Filter

A couple of renderings. Fine/sharp grain:
11. ## Grain Effect using Equation Filter

Comparison of workflow steps:
12. ## Grain Effect using Equation Filter

Some images: Working Dialog (it's a little bit busy at the moment):

14. ## [AP] Soft Proof Adjustment Layer - Gamut Check

If it is possible, it would be terrific if the "Gamut Check" feature in the Soft Proof adjustment layer provided a false-color overlay/map that gave an indication of how far OOG the pixels were, say in deltaE, instead of a gray overlay that does not indicate how far OOG each selected pixel actually is. Even better would be a preference to map the false color overlay to different dE values - that way, the user could specify the level of dE discriminated in the OOG overlay. For example, green for a dE <2, yellow for dE between 2 and 6, red for dE > 6 or something like that. This would be useful in assessing OOG colors for print, for example, and what adjustments would be necessary to bring the current document into gamut for the intended output space. Sort of highlight and shadow clip warnings in a typical raw converter. I can envision making a saturation adjustment or a Lab curves adjustment and watching the OOG indicator map change from lots of red and yellow to a little bit of yellow and calling that adjustment sufficient for the conversion into the destination color space. Color Think: http://www.chromix.com/colorthink/pro/pro_worksheet?-session=SessID:47E61C221d6c420F6BuomWB1C0FC provides this kind of gamut map, but is a professional color tool that is expensive and requires a lot of additional knowledge to use, and is not an embedded tool in an image processing application. The attached example shows a particular blue in AdobeRGB and how it would map to an Epson printer profile, with the "gamut map" showing how far OOG some of the blue areas are. Thanks! Kirk Thibault Berwyn, PA
15. ## Finding a way to export as 32 bit, tiff. I am at a loss.

OpenEXR and HDR (Radiance) are the two 32bit file formats available for export/save in AP. kirk
16. ## [AP] Film Emulation looks using Inferred LUTs in AP

I sort of figured this was covered before, but a search for LUT and Infer LUT came back with nothing. Sorry about that. Thanks for the tip! kirk

18. ## Photoshop Apply Image Functionality Needed

Another thread has, coincidentally, recently been started that includes requests for the Apply Image functionality, as well as access to all channels and, of course, automation. https://forum.affinity.serif.com/index.php?/topic/25530-color-correction-prepress-missing-tools/ Thanks, kirk
19. ## Color Correction / Prepress missing tools

Please also see this recent "hot" thread regarding the same request for Apply Image functionality: https://forum.affinity.serif.com/index.php?/topic/10847-photoshop-apply-image-functionality-needed/ thank you, kirk
20. ## Color Correction / Prepress missing tools

I would also like to see both of these important features implemented in AP, please! These are essential image manipulation tools for use in selections, masks and channel-based operations. The current "Apply Image" command is of little use compared to the "traditional" Apply Image command referenced by Davide. Thank you for your tireless development of AP. kirk
21. ## Apply Image

Maybe an explanation of how Apply Image works like (or will work like) Photoshop would be in order. At the moment Apply Image exists but you cannot apply a channel/layer from the existing image to a layer or channel in the same image, etc. or another open image of the same dimensions. You have to load an external image to apply it to the current image and there is no access to the channels of the external image either. Pointless for most uses of masking and image processing in the PS methodology of using Apply Image. There is no "Calculations" dialog either to attempt to replicate the Apply Image operation in PS. kirk
22. ## Topaz Filters

You need to tell AP which folders to search for plug-ins, and the plug-in support. This is done in the Preferences > Photoshop Plug-ins tab. Not all plug-ins will function even if they are detected. Search the forum for several threads on this topic. kirk

24. ## combining L,R, G,B monochrome images

But, once you open your grayscale image, you have to make it a COLOR image (Document > Color Format RGB (16bit)) THEN you can assign a color profile. I was not sure you were in color mode. kirk
25. ## combining L,R, G,B monochrome images

Here is the AP version, with some work to make it pleasing ... :)
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