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pano

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Everything posted by pano

  1. This is a feature request suggestion that will make Affinity much better for users of DNG cameras, so many users.
  2. Many industrial camera don't have lensfun profiles.. only embedded data in DNG files
  3. That's very annoying... seems very standard functions that Affinity can implement like other vendors did. ..at least basic lens correction functions
  4. When opening DNG files with opcodes, for example with the FixVignetteRadial command, Affinity Photo is ignoring them. Adobe apps and Capture One are correctly interpreting these DNG commands. Please check the attached file in Capture One / Photoshop and in Affinity Photo 1.9 (but I guess v2 is the same story). It's a bit exagerated, but useful to check if opcodes are supported. Thank you mod.dng
  5. Colors can't be subject to copyright, just the brand. Why Serif is not making it's own palette with a different name?
  6. If this feature is going to cost them 100k, they can shutdown immediately. They only need to implement a new pixel format for TIFF files. This won't be so difficult if they use libTIFF. Once they have Float LAB<->XYZ (that's likely already in a float format) it's done and they can put it in their internal working format. This may take a senior programmer a couple of days.
  7. You seems right, LAB is clipping more than ProPhoto in PS. I can't find on Wikipedia anything about unwanted LAB clipping. Do you have any link to learn more? Thank you
  8. The 3D Gamut of LAB is not a cube, so some values are not valid in the color space and Affinity Photo mess up things of course. Programmers call the reference white D50 a color space but this doesn't make a lot of sense. For example LAB 0 127 127 is a red in Affinity, while this is of course not the case. Everything is black when there is no light. This is just an out of gamma value that is wrongly displayed. The Affinity Gamut Check is not working with the Proof Profile D50! The valid gamut include all human visible colors and is "unbounded" in this sense.
  9. CIELAB (or LAB) is designed to support a dynamic range of approximately 100:1 that´s enough for single shoot photo. hdr-CIELAB is addressing wider dynamic ranges, but i'm not interested in that. An L* of 0-100 is more than enough for all my needs. I'm currently more interested in accurate colors. RGB/32 is storing RGB data as 32 bits per channel (=96 bit), but my point is about the color space, not the bit format. LAB/16 is an "unbounded" color space AND a bit format. 16 bits per channel (=48 bit) are enough for my 12/14 bit RAW files.
  10. If I have a RAW file, I don't know what colors are there and what color space is including the whole native camera color space. So the only viable choice is LAB, that contains all colors. Any other arbitrary choice may lead to a gamut mapping with an error. Picking RGB/32 and then automatically converting to ROMM RGB (the largest color space) is not a warranty of loseless colors, the camera color space is often wider than that. Converting to LAB after won't recover any color lost. That's why Adobe is allowing the direct RAW->LAB conversion.
  11. When I open a RAW file, it's created by default an RGBA/32 document (with gamut limitations!). I would like to open the RAW image into the LAB/16 format to avoid any color loss. In Photoshop/Camera Raw this is already possible and should be very quick to implement because AF already support the LAB/16 format for other files. Thank you
  12. Where the LAB data comes from? Seems different to me
  13. So... here some additional info and insight White Reference: D65 -> LAB color 71,39,76 -> RGB 262.9,142.0,7.4 (out of sRGB gamma) Photoshop -> LAB color 71,39,76 -> LAB 70,36,70 -> RGB 247,143,30 Affinity Photo -> LAB color 71,39,76 -> RGB 252,143,11 Seems there is a different handling for out of gamma colors, they are probably not just clipped to preserve the hue. Good communication from Serif would be to create a white paper or document all this stuff, otherwise is weird you define a color and is changed without telling anything. Photoshop tell you that your LAB color is changed as well.
  14. We can only wait for official explanations from developers
  15. I only found the issue at the app level, then there is OS, Graphic Card and Monitor, but this is another story. If the app is telling to the OS to display R,G,B and R,G,B is wrong, there is nothing that can be done
  16. I have sRGB profile, not a custom monitor profile so there should not be any difference. But is not this way.
  17. When there is a difference bigger than +/- 1 is probably a bug or numerical instability (that's always a bug)
  18. My conclusion is that math is broken in Affinity Photo and you can't rely on colors defined in spaces different from sRGB
  19. The design should be output device independent. Everything is drawn using LAB colors (document in LAB/16 format) and then converted to the specific output device.
  20. I want to draw something by using LAB D65 specified color, but seems that I can't with this software. I can't draw with LAB D50 too because colors are wrong (see my other post). This is important for branding with accurate colors.
  21. Attached my settings. Let's suppose that the LAB color 71,39,76 is converted to sRGB with D50, we will get 255,143,5. By using D65 we have 255,142,7. There is no way to get 252,143,11 unless a weird RGB Model / Gamma / Adaptation is used internally by Affinity.
  22. Changing white balance is not the same of using LAB colors under the D65 light.
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