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Daniel Geiger

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Everything posted by Daniel Geiger

  1. I asked about this in 2018; see here for history: Has there been any progress on book features with respect to automatic/dynamic numbering and cross referencing for Figures & Tables in Publisher V2? A tutorial video would be great, as some of the previous explanations did not make much sense to me. Also, should work for >1,000 figures/tables across multiple documents, so the layer approach does not seem to be manageable with that sort of project. Just upgraded to V2 suite, love the cross app integration. Just not sure it is up to the task for larger scientific text-books. Thanks for any intel!
  2. +1, need to see invisibles, like spaces in text, tabs etc. Definitively needed!
  3. Please LINK images, and do not embed the images. I made a one-page 40x44" poster, with a few images, and it clocks in at 2.72 GB (gigabytes) !!! A similar document in QuarkXPress is 10.4 MB (megabytes). The Publisher document is 200 times bigger! Creating larger books with lots of large high quality images will be impossible. My last book had over 1200 pages, with over 1000 figures.
  4. Thanks. It is not the window size, but the size of the individual characters that are difficult to discern.
  5. Already at the largest setting. Still very small and difficult to see what is what (see screenshot in OP).
  6. hmm, not sure what you try to show here. I know Publisher supports stylistic alternates. But does not change the fact that with the illustrated script font (Dreamscript), it is very hard to see what is what.
  7. The Glyph Browser even at its largest setting is too small for Dreamscript (see attached screen shot). . It is very difficult to see the stylistic alternates. Try to distinguish f and l, or m and n. Quark has a nice option that shows just the stylistic alternates of the selected character and a slider function for size in the glyph browser.
  8. Another vote for Mellel. I particularly like the cross-referencing feature, and the exquisite search-replace function. The best I have seen in any application (ID, QXP, MSW).
  9. I try to get the alternate row shading in table. I cannot figure out how Edit Table Formats works. I looked at But that does not help. Make a 2x2 table. and go to Edit Table Formats. There is a 3x3 Table with dark gray triangles on the sides that can be moved up and down. No idea what that is supposed to be. Try to select a row in the 3x3, assign a color to that row, but it will color the entire 2x2 sample table in that color, not just one row. Tried all sorts of permutations on selection cells columns moving triangles, but whatever I do, the entire 2x2 table is colored in the same background. Also looked at Help, and there is nothing specific in there either. Having a video tutorial on the Edit Table Format interface would be great.
  10. Same problem on MacPro 2013. With parallel on, all processors and cores @100%, but no files are saved. Unchecking parallel works. I have done Parallel before and it worked then. Not sure what the issue is: MacOS or AP.
  11. Thanks Dave. Cross referencing will be essential for dynamic numbering to be useful. For cross referencing, I can't see how a "Figure \#" could work. That works for automatic increments, but not for cross references where you need a specific descriptor for each element, like "Picture Flower" "Picture Dog" "Picture Cat". That is how Virginia System InSeq did it, and this is how Mellel implements it as well. My last book had 1042 figures over 1291 pages, and I did cross reference across documents and out of order. It would have been impossible to keep track of that many figures over that many pages without VirginiaSystem InSeq. My next book will be about the same order of magnitude. So this is not hypothetical, but very real.
  12. Yes, I should have made it clearer that numbering also needs to be dynamic, and across multiple documents in books. Also agree on surprisingly good beta.
  13. I am desperately looking for automatic, dynamic figure numbering and referencing in text. Would jump QXP for this feature alone. Similar to the old Virginia System InSeq plug in for ID, or what Mellel word-processor does. Keeping track of 1000 figures in as many pages is not to be done manually anymore.
  14. With script fonts (Dream Script), the various stylistic alternates are not necessarily grouped together even selection Unicode plus alternates in the Publisher glyph palette. Eg. s-alternates are interspersed with st-ligature. Sifting through the entire font is rather cumbersome. In QXP, I highlight a letter, select stylistic alternates in the glyph palette, and get up to about 8 alternates for that particular letter. Much easier to design with script fonts.
  15. Just figured it out. When Separated mode is checked, one does NOT select Merge all Windows to get to that mode, but you select Separated Mode again! That must be a bug.
  16. I know how to toggle between separated and toggled mode. The issue is, that AP is stuck in Separated mode. I select Merge all Windows, but it will not do that. It just stays in Separated mode. Tried quit, open without image open and select Merge All Windows, with image open, but it just is stuck in Separated Mode. I am seriously thinking about deleting AP and re-installing it fresh. Is that really what I need to do? Seems extreme.
  17. AffinityPhoto 1.6.6 no longer permits me to select Windows -> Merge all windows anymore. The option is in black (not greyed out), but when selecting it nothing happens. Tried quitting, tried restarting computer (AP 1.6.6 MacPro 2013 OS10.10.5). Accordingly, many of the tool options are no longer available either. How do I fix this? Try not to loose all prefs and macros again.
  18. AP has always opened files in the merge all windows mode. For some reason, it switched default to separated mode. How can I make "merge all windows" the default opening condition again?
  19. Same inpainting problem, same re-launch solution. AP 1.6.6 Maybe worth suggesting that first.
  20. Another vote for file format transparency. I also work in QuarkXPress, and now I have to maintain two versions of each image, a layered .afphoto, and a placable .tif. Really annoying if you try to fine tune images as they look in the context of a larger document. While speed improvements may be important for some large files, for many users the trade-off is rather tilted towards compatibility. Alternatively, have the option of saving AP files in .psd format by default.
  21. Sorry, did not see this reply. Z-stacking: you move the camera set-up but leave focus unchanged. This is the option of choice for macro, because you change magnification while changing focus. Focus stacking: leave camera in place, change focus setting on objective lens. This works better for long distance shots. UV-reflectance: instead of visible light, I use UV light and exclude all visible light with a visual opaque filter. If you look through the Baader U filter, you see nothing, it looks black. Bayer filter/mask: the sensor of a digital camera has color filters over each pixel. In most cases, in a 2x2 array, diagonal 2 are green filtered, one is red, one is blue. So each pixel only sees one color, the rest of the color information is interpolated. There are other options, and there is the Foveon 3 layer chip. But by and large, most digital cameras use a Bayer mask. I hope that helps. This is a bit more photo tech-geekery, and certainly an out-there method. I now follow the thread, do should reply quicker.
  22. Not sure whether this is feedback or share your work, it's kind of both. I've been playing with UV reflectance z-stacking. Here I focus on the post-processing aspect. One problem is that during camera conversion, some of the Bayer filter elements most likely got damaged. This is no big deal for single captures, but if you stack 50 or more, one gets a lot of "creative" color streaks. Below blow up of those color streaks. That leads to a lot of post-processing after stacking. I thought of doing a dust delete data in the 5D2 body, but that does not work, because during conversion, the dust shaker hardware is removed, and without it, the dust delete data cannot be obtained. But because these color dots are in fixed positions, they can be screened out with a Gaussian blur mask. Do the following in Affinity Photo: - Open a dozen images in AP. - Add a Gaussian Blur live filter on top of the first image. - Add a mask to the Gaussian Blur live filter. Blur of about 2.5 pixels worked well for me, but that depends a lot on your camera and the type of Bayer damage you have. - Fill mask layer only with black. - Paint with a small white brush (4 pixels worked well for me) over any color spots in the mask layer. Do that at 150-300%. You'll spend some quality time at this. Don't bother fix those color spots right at the edge of the frame. The Gaussian Blur from the edge of the image is going to mess it up. - Once done with first image, copy-paste Gaussian blur filter with Mask into next source image. - Check for pesky color spots in second image and refine mask. - Copy-refine for the the rest of the images. Open one of the CR2 source images, develop it. Now start macro recording and paste the final version of the Gaussian Blur live filter with mask on top of the image layer. Stop macro recording and save it as something like "UV prep". The cool thing in AP is, that the live filter with mask is saved in the macro step. So the macro does not paste from computer memory, but the stored filter-mask. That means even if you quit the application, the Blur-Mask is still stored. Super cool. In Open-batch, select the Macro, select your output format (e.g., tif for Zerene), add files, and press OK [Another cool thing in AP, saving/export is not part of macros, but is in the batch dialog. No more infuriating confusions about save functions as in PS]. I am extremely impressed with AP batch processing. All 12 cores on my MacPro desktop go continuously full throttle (100%) for several minutes. I have not seen that with any other application. They really program the batch processing well. I also tried APs focus merge function, and am quite impressed, but Zerene still seems to have the edge. PS is worse than useless for serious macro stacking, so most people use either ZereneStacker or HeliconFocus. I have not found a way to touch up the final stack layer by layer, as you can in ZS or HF. If I stack with the color artifacts still in place, AP has trouble with proper alignment, while Zerene nails it. Last but not least, tone mapping is much better in Zerene than in AP. This could be fixed before feeding the files into AP. One problem with APs tif export is, that Zerene only reads them as B&W file (or single channel?). Feeding the same files into AP gives me a color image. Not sure yet what is going on there Attached four images. - Stacktrail Zerene. Notice the color streaks, but clean edges of flower and good tonality straight out of stacking. - Stacktrails AP. Notice color streaks, and edge of flower is blurry (alignment issue) and image is overexposed. - AP stack: stack of images after batch processing with Gaussian blur mask in AP. Flower edges are clean, but still a bit over exposed. It seems that AP-alignment is misled by color artifacts. - B&W Zerene: Cleaned tifs stacked in Zerene, resulting in B&W image (hmmm ....) The AP cleaned tif can be run back through DxO, and those secondary DxO tifs can be given to Zerene to stack in color. There is something funny going on how either AP encodes .tifs or Zerene reads them. It also seems easier to do RAW conversion in DxO (curves etc). and then feed DxO tifs to AP for color removal. It requires to run hundreds of images three times before stacking, but so be it. Below a vis - UV comparison of another species, with UV run through Zerene. Flowers are about 2 mm tall.
  23. I'm blown away by the speed of batch processing! No comparison to PS. All 6 cores/12 kernels are used 100%, which I rarely see in any application. Cudos to a great implementation. But my coffee breaks are gone now. I am also pleased that macro lets me define line and text styles (though no actual lines or actual text), which is a HUGE time saver. That the save function is only available in the batch dialog is also a great plus. The PS action-batch command interactions was very confusing and irritating. Occasionally, less is objectively better.
  24. I use quite a few layers in my images. To adjust levels of individual portions, I have to group those (occasionally also in second level groups). The histogram in levels is a very poor representation of the brightness distribution (see image). How can I get that more meaningful? It seems that layer order matters, which is really weird. The lower layers have poorer (flatter) histograms than the upper ones. Not 100% sure that holds all the time. Second, AP retains all the information of each image part (which is actually good), even if it is outside the current canvass, or is hidden behind another layer. Is there a way to get histogram for just the visible part of each layer? The footer of each of these images is pure white, so when I try to adjust white point, it is difficult to know where the white of the image is, rather than the invisible footer of the files. Some sort of highlight/shadows clipping warning (with color overlay on affected area?) would be very helpful. If it exists, I have not found it yet. Gamut warning does not work for me. Thanks!
  25. Just started playing with macros. I notice that AP will not permit me to move a layer to a different position. I like the insert new layer options (top, bottom, n-th layer from top/bottom), but the inability of moving layer requires me to execute the macro recording in a very specific sequence. I also notice that save/save-as/export is not available in the Macro menu. This is handled in the batch dialog. Might be nice to have a hint in the error message from the Macro panel when attempting to use save/export that save/export is handled in the batch dialog, rather than just saying "sorry cannot". Are there other commands/actions/procedures that are not permissible? Or is there a list of available commands/macro steps? For a 1.0 on macros, very impressive, but not quite prefect yet. In batch processing, it would be great if an entire directory (with/without subdirectories) could be specified as source for images to be batch-processed. With complex directory structures, adding files becomes very time consuming, while specifying the root directory (with all its subdirectories) would be a single click.
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