Frank Jonen

And yet another one for data merge. SQL inputs especially since SOME people HAVE to work on data up to the last 20 seconds.

What profile is your render buffer set to? Rec709? sRGB? sRGBf? In regards to using LUTs: Using a LUT in linear space without an additional shaper will result in an incorrect rendering (it will work, but not look as intended). Normally in an OCIO transform you set the colour space before the LUT gets applied, this creates a shaper. Affinity does not have that. You'd have to emulate one using a curves adjustment layer. Rest assured, we all have the same problem of Affinity ignoring the OCIO transforms and simply applying the set 32-bit ICC profile. It's a pain, but the only way to remedy it is to mess with OCIO transform layers while looking at the image through an ICC profile until it looks right. Your best bet is to do the colour transforms before you bring the image into Affinity. Look into Affinity's 32-bit profile list in the settings, transform to that prior and you should be fine. Also disable the automatic transformations in Affinity's settings. IMO that does more harm than good (it's too easily overlooked). If it looks wrong when you open a file, you can assign the correct profile (or nearest) and know what is happening. It would be nicer to have that profile list as a drop-down meny right on the imported image layer, but keep in mind: This is not a compositing tool, it's a general purpose image editor. What makes life easier for us may well cause a WTF? Bingo session for the median user.

Can we have like a HUD type panel that activates when in typography editing mode (maybe a checkbox so it's not annoying when you don't want it)? Scenario: You select a character and below it a panel with all the optional glyphs shows up, hovering over previews the glyph in-place, clicking confirms it.

I like the new app icon, but it's also part of the Hornbach logo, which could spell trouble.

Either it's extremely well hidden or an omission so great it's a bug. The one thing that's being changed constantly in a brochure or a folder is the size. In Publisher that's not possible once the document exists. You can adjust the spread size only, but adjusting the spread size of the master pages does bupkis to the existing pages. They just stay the same size the document is… which apparently is not changeable.

Now it has a white flasher at the top right corner even. The tiny area, making for scrolling adventures instead of working productively, however is unchanged.

Most of the world outside is 'governed' by ICC profiles. Browsers, apps, etc… you get the idea. Having a path from OCIO directly to ICC, could sidestep having to go through DaVinci Resolve for PR shots coming from an ACES pipeline for example. Right now Affinity Photo can't accurately translate an OCIO managed AP0 EXR to any ICC managed profile. It's either too saturated, has a red tint or has the wrong gamma curves. Since Affinity Photo knows the calculations it is making to display the image, a layer similar to 'soft proof' could go from OCIO to ICC. Personally I'd rather have this as an export setting, but being able to preview what you're exporting is still invaluable.

Not aware of any posts. I've wanted to post this a few months ago but never got around to it.

An old bug that didn't get fixed yet. You put a compound shape, each element with its own constraint rules into a symbol. The moment you make the group where it is in (or the compound itself) into a symbol the compound loses its fill and cannot be filled again until it is detached from its symbol status. Also the sizing of the shape gets completely messed up.

Yes, instances of symbols. That's what I said. Often not all instances of a symbol are receiving the updates I make to a symbol. Most of the time I have to start over and re-create all elements, starting a new symbol. That's why I now stopped using symbols altogether, they're not reliable. It's really easy to get them to screw themselves up. Just do a few edits on a symbol while it has been instanced already across a document. Some instances will get the change, others won't. If you want it to happen faster, nest symbols. Usually only takes up to 3 edits before you have to start over. Yesterday I could've given you a file but now I've re-created the whole thing with embedded documents. At least that approach works. Just not when I embed a document into a symbol and re-import the document or change the document in AD, then it screws up throughout the instances of the symbol as well. Also, why is there no simple "reload" or "relink" for embedded documents? It's really annoying.

I had another mis-print today because the symbol instances constantly get out of whack. A "force update instances" would cure this ailment. Right now the instances are recognised as symbols in the layer stack. Yet quite often after updating a symbol, it carries through some instances, not all. Sometimes just two instances and then it stops. It's a very necessary addition and I'm honestly quite surprised it isn't there already.

Also has the bug from Publisher with the broken Optical Alignment panel. It just stops, forcing you to scroll, despite oodles of panel space are still left for it to stretch.

Optical Alignment UI bug still persists.

The panel contents are clipped and don't extend all the way down. Resizing the panel only increases the gap between panel content and panel edge. Edit: And you get a light show of selections when you hold the left mouse button down up/down arrows next to the value fields.

A simplified way to describe "scene linear" is how light behaves in a scene. Then it's up to you to decide how you look at that information. Scene-linear itself is neutral. All values go from 0 to 1 in floating point steps. Either in a 32-bit space or just a 16-bit space. Camera data usually comes in as 16-bit float plates that are composited with the — to be adjusted — 32-bit float CG elements in a 32-bit float space. I'd wish Affinity had a checkbox to turn off ICC profiles for 32-bit spaces and leave us in a pure OCIO workflow and a clearer information of how an imported EXR was 'converted' to scene linear. The ICC toggle would need like two confirmation dialogues the first time it is set. "Are you sure? This will look horrible on non-hardware calibrated devices." and "Yes, my body is ready." Personally I think it'd be fantastic to have Serif as an ACES partner and the Affinity suite have an official "ACES mode" where everything just works and an option to screw it up manually. In ACES we have several camera models and colour transforms that one day all may translate without loss between each other. To start you can translate your scene linear to ACEScg which is scene-linear more or less. If you mostly work with CG elements, it's a good environment to work in. When you export and send your shot to another facility you pick the big one, ACES2065-1. This carries your colour decisions in a large colour space. It also minimises the checking back with colourists whether you need to send them ACEScc or ACESct as they can just use it or convert it before using it. Conversion between cc and ct is a bit iffy still. To match in Affinity what you see in Modo for example. Good luck. Modo uses rec709 but not really. Its sRGB viewer LUT is somewhere in between rec709 and sRGB. Just make peace with the fact that it'll look different in comp than in Modo. I tried to add ACES transforms to Modo but the setup to get existing scenes to look right was so weird and nasty to replicate in Nuke that I gave up on it. When you export to ICC from 32-Bit OCIO it's always a tradeoff since they have a fundamentally different view on colourspaces. One of the reasons OCIO exists. On a Mac you can install the OCIO package with homebrew and generate the transform you need. That'll give you a lossy LUT (all current LUT formats are lossy, ACES transforms strive to be lossless) or ICC profile that you apply to your file before converting to ICC. Sometimes you have to convert it to 16-bit first before the generated LUT looks right. Gamma is still an issue in Affinity as you might have noticed the hard way. For some inexplicable reason the sliders end at 0 and 2. Maybe that is useful to someone out there. If anybody finds that necessary, fine. But Affinity really needs a sensible Gamma transform. The current one in the Levels layer is just terrible. It sounds like that adjustment layer might eventually be replaced by a good one though in the future from reading the roadmap.