Frank Jonen

It's reasonably simple to switch configs in Affinity but it still involves closing everything and restarting the app. You can't have two documents open that need different configs.
 
 
It'd be great to do the setup of a few configs once and only require a restart when you change that setup. That way we could have open a few documents that are in difference OCIO colour spaces. I often have to switch between nuke-default and ACES nowadays. Being able to set and save (in Affinity format) what config a document used would be great and only like two or three lines of extra meta data. It would also make it easier to work in larger teams and bring work from multiple sources together.
 
Then having an OCIOconfig node/layer which could be used to transform work from one base config to another would be really sweet.
 
Being able to toggle through configs would also be great for last minute jobs where everybody just assumes you know their workflow and eff-off right after emailing you the logins.
 

YESSS!
 
Take a look at yEd http://www.yworks.com. That's what I currently use for diagramming. I've tried a bunch of tools, but either they were too low on features or too involved to get something done quickly that also looked bearable. I often need to quickly swap stuff around in a hierarchy and export again. Often while on a call.
 
Something that works a bit like yEd (just with easier, balanced in/out-forking) would be ace. Also remember how pretty the noodles in Shake looked? That was either a two-spline joint or auto-beziers. Something auto-pretty is always a plus.

Cropping means to crop the entire document. The crop tool is hard enough to use as is, but it's not what you're looking for.
I think what you're looking for is masking a layer.
 
You can do two things. Draw a marquee selection (rectangle) over the image and add a layer mask. The selection then gets used to 'crop' the layer to the dimensions of the rectangle masks you've drawn.
 
The other way is to draw a rectangle shape (vector) over your image, then drag your image underneath the shape and the shape will mask the image. You can edit the shape but it will distort the image. To prevent this, drag the image out again and resize the shape, then drag it back in again.

Cropping means to crop the entire document. The crop tool is hard enough to use as is, but it's not what you're looking for.
I think what you're looking for is masking a layer.
 
You can do two things. Draw a marquee selection (rectangle) over the image and add a layer mask. The selection then gets used to 'crop' the layer to the dimensions of the rectangle masks you've drawn.
 
The other way is to draw a rectangle shape (vector) over your image, then drag your image underneath the shape and the shape will mask the image. You can edit the shape but it will distort the image. To prevent this, drag the image out again and resize the shape, then drag it back in again.

Cropping means to crop the entire document. The crop tool is hard enough to use as is, but it's not what you're looking for.
I think what you're looking for is masking a layer.
 
You can do two things. Draw a marquee selection (rectangle) over the image and add a layer mask. The selection then gets used to 'crop' the layer to the dimensions of the rectangle masks you've drawn.
 
The other way is to draw a rectangle shape (vector) over your image, then drag your image underneath the shape and the shape will mask the image. You can edit the shape but it will distort the image. To prevent this, drag the image out again and resize the shape, then drag it back in again.

That sounds like me with practically everything! Lol Especially when I'm doing anything with TeX. When it works, I don't know why or how, but I'll take it! When it doesn't and won't, I can never figure it out.

One way to surpass InDesign is typography. InDesign has been struggling with that for years now and has every fallen behind Quark so badly publishers are saving money in page count when printing books by using Quark vs InDesign. But Publisher doesn't have to beat any of those. It has to beat LaTex, or at least get to parity. 
 
For web typography, supporting the latest OpenType features is a must now that the problem with legacy browsers is fading away. Colour and SVG based OpenType fonts is one thing. Variable fonts is quite another. It saves download time for the user since you only have to serve one font to provide all the weights. Recent Safari versions handle this well.
 
Also for ePub, support of iBook packages would be great as well as the ability to create them as well as some way of easy round tripping with Tumult's Hype.

What would be accurate then? You stopped your reply too soon.

Hi,
 
Shift+F5 will open the Edit -> Fill tool - but I agree, a fast way to fill with primary / secondary would be useful..
 
Thanks,
 
Andy.

What would be accurate then? You stopped your reply too soon.

Yes definitely, Python that conforms to VFX Platform would be great, but even if you wanted to go with 3.5+ that would be amazing.
 
A few people at work were looking at Photo now that it's on Windows.  Anything that could be done to make it more studio-friendly would be much appreciated.

Ehehe! I've been trying to sort this since first appearance of equations...
Not skilled enough, but I'll follow curiously.
 
:)

Does someone know how to implement Floyd-Steinberg or Jarvis, Judice, Ninke dithering with equations?
Is that even possible at this point?

Hello!
This feature was mentioned in another (a bit unrelated) topic so I'm creating a new one to highlight it. This is just for Affinity Photo.
 
A Live Mesh Warp Filter Layer would allow for the creation of complex product mockup images with embedded documents. For example, bottle labels or round cans.
 
Thanks!

Hi,
 
Would you consider an additional layer merge command on AP
 
'Merge selected to new layer'
 
I know I can do this already by setting the visibility and merging visible but it's a bit of a pain when a lot of layers are involved and I need to remember what the original settings were!
 
Or maybe there is a better way with existing commands?
 
Thanks

I mentioned this in another thread but there is another suggestion for screen printing separations...
 
Having a halftone function that works like Photoshop's to output separated images from AD or AP. Keeping the live preview and split view existing in AP would be stellar as well. I screen print and this is an absolute must have function for me. Being able to set the line frequency and dot size for output is critical to a successful print.

OK so I got curious :)
 
Maybe this might help you batch this quicker. I don't know what film stock you used nor do I have any negative profiles at the moment. Is this somewhat close?
 
 
For debuggig purposes, I also see the bug. It happens when you use the invert layer as well as when you use levels and swap black and white point. Export a LUT from that and the 3D read order gets swapped. 
Inverse + Balance.cube.zip

Nope, not Affinity in this case. You sounded like you needed a working LUT, so I made one :) I'm a magician, I pulled it out of my… I use Lattice for technical LUTs like this. 
 
As for the bug: Invert generates the same output as switching black and white points, that's why I tried both, to check whether it's specific to that layer. It's the export LUT function. AP used to have an option to compensate for this when loading a LUT, used to. If it still were there you could've just checked it and used the LUT it exported.
 
If you shoot more film in the future, it's definitely worth it to invest in a ColorChecker, that way you can match the colours to it after inverting to get accurate colours. Usually it's enough to do one calibration shot per roll unless the temperatures drastically change. It'd be great if Affinity would support colour targets though. Infer LUT generally does a good enough job, so there could be a "LUT from Target" option in there as well.

Thanks Frank,
 
Yes I have a ColorChecker and will try and remember to do occasional calibration shot. Been also experimenting with using a profile in Lightroom which does work but the lack of an invert adjustment means using the profile to flip the colours also causes the controls to work backwards which is not ideal. As I shoot less film now I'll probably just use AP to process the scans - balancing the histograms and applying small corrections to the tail of the curves works quite well and then use the LUTs to batch process similar images. Will at least get me close enough to just then do quick final tweaks for any images that deserve it.
 
Regards,
Jonathan

Just saw your post Frank and have downloaded both of your LUTs.  I have some very old negatives and have not been able to satisfactorily develop them so I will try your LUTs on them..
 
With thanks.  
 
P

One way to surpass InDesign is typography. InDesign has been struggling with that for years now and has every fallen behind Quark so badly publishers are saving money in page count when printing books by using Quark vs InDesign. But Publisher doesn't have to beat any of those. It has to beat LaTex, or at least get to parity. 
 
For web typography, supporting the latest OpenType features is a must now that the problem with legacy browsers is fading away. Colour and SVG based OpenType fonts is one thing. Variable fonts is quite another. It saves download time for the user since you only have to serve one font to provide all the weights. Recent Safari versions handle this well.
 
Also for ePub, support of iBook packages would be great as well as the ability to create them as well as some way of easy round tripping with Tumult's Hype.

I  think that Affinity Publisher has to surpass InDesign like Affinity Photo has surpassed Photoshop and like Designer has blown Illustrator out of the water! 
EPUB; HTML5 and, at least, Android apps should be included. I would imagine that it is pretty easy to use HTML5 for iOS as I do believe that there is a stringent process to get apps on the Apple App Store. 

Today I went through Affinity Designer scouring for pre-press tools, there were none. No separations, no channel view. Only the workaround to freeze all layers in Affinity Photo and export each CMYK+ channel separately. Bit of a surprise. But since there's nothing there, here's what I wished were there. That and a decent printing dialogue. For the print simulation, I used to recommend Substance Designer (setup) + Marmoset Toolbag (presentation) for a while now. Not anymore though because I always end up doing the work.  -_-
 
 
Scope: A new persona for all apps to address basic pre-press that are currently unaddressed.
 
Views: Toggle between several views for dedicated control options on each task. Some views can be combined to get a better idea about the end result. Noted with [separate] when one stands alone.
Overprint Check View
Show realistic rendering of how the overprint will look based on selected profiles for ink, printer (optional, based on PPD) and paper. Tools: Range Selector: Like a mix of UPoint + drag and move, for fixing and optimising ink trapping (live dilate/erode on vector and bitmaps). Coverage meter: Show where the ink coverage exceeds or meets 100% with a heat map overlay. A range selector then can be used to lower the ink as: lower total, lower c/m/y/k/+. Buttons could  be used to control that: e.g.: [c] [m] [y] [k] for working on magenta and yellow at the same time. Output Image: Render the simulation output of a whole document to an image (or PDF for multi-page) Font Trapper: Local overrides on font trappings that didn't turn out as planned in the style and colour settings.
  Print Simulation
A simple simulation for base paper types and the ability to create custom ones (folder with absorption values, reflectance and a texture image for example) would be great to give clients a feel for it before someone has to spend money. Tools: Moveable light source: (useful for checking special inks, embossing/debossing, foil stamping and UV coats) Review light: Choose between a set of standard review lights (e.g. Just Normlicht LED proofstation) to judge the print under various lighting conditions and help avoid ambiguous colour situations (like that dress). Output Image: Render the simulation output of a whole document to an image (or PDF for multi-page)
  Separation View [separate]
View all separations in a gallery view with an option to overlay them to check whether they can be optimised further or whether they work as planned (how is the yellow faring with the black? Did the overprints turn out as desired in the OC view? Are all special ink channels present correctly?) Tools: Drag overlay: Drag a sheet onto another to see their interaction in the printing context. Print separations: Print dialog allowing output of separations on a standard laser printer. This allows for a final manual check and also is of sufficient quality for a lot of silk screen printers out there. Export to PDF: Save all/active/selected artboards/pages in separations to a multipage PDF ready for lightjet ripping

Currently the vector scope isn't scaleable, it's quite small. It's been my screwup meter for years and in Photo it's just damn hard right now to see things close to the centre because it's so small.
 
While at it. Once the scopes are bigger, they could be used to mask colour ranges. Just draw a selection on the scope with the selection brush (or regular brush) and the colours within their ranges are masked.

Family sharing in the AppStore preferences.
You share your AppStore account with a family member (within the same household) and they'll have access to all the apps you bought that allow for family sharing.