Pixelatedvertex

Hi, sorry, I must have missed the notification. The issue still persists, could you open a new folder for me to share the files? Cheers, Ivan

Thanks!

Hi, you have understood correctly and the screen capture you show is exactly what I'd expect and want, but for some reason, in my case, while I do get the shade of grey I want in the magnified preview, the RGB values under the magnification circle seem to correspond to the image that is being masked and the resulting picked grey seems also to correspond to the value of the color image than to the mask I'm picking from. I also made sure to set the color picker to "current layer" mode. So either I need to tick some option that I missed, or there's a bug. Cheers, Ivan

Hi, I'm a bit confused by the color picker functionality. It doesn't seem to be able to pick a greytone from a mask, which to me seems like a useful feature when painting depth masks. There should definitely be a way to do this. Cheers, Ivan

Hi, recently upgraded to Affinity Photo V2 and something strange started happening. In my workflow, I like to render my images as 32-bit exr render passes, that I composit manually in Affinity Photo. I used to load them in a stack, but now that I upgraded, something weird started happening. When I load them in the stack, they all load full black. When I open them individually, they load just fine, but as soon as a I load a pass (everything looking fine at this point) and drag and drop the next pass into the same file, the next image loads as full black again. Opening them individually and copying the layers to the first file seems to work so far, but is a major time killer. Does anyone have any idea, what could be causing this and how to set things up, so that it works like one would expect it to? Thanks. Cheers, Ivan

Ok... found in another thread, I´ll just leave this here in case someone else struggling with this comes across this thread. If you put a white fill layer set to multiply blending mode as the bottom layer inside your group, both Adjustment layers and Pixel layer blending modes seem to work as one would expect them to. This might be some variation of Hens´s example above.

Thanks, the white fill layer at the bottom the group hierarchy seems to solve this issue, would be nice though, to have this work without weird workarounds, that you have to spend a lot time looking for in the forums.

Ah, thanks Walt, at least I kind of get what´s happening now. Well... it´s a bit heavyhanded, but better than nothing, I guess... At least I know why this didn´t work. Still This seems like a really counterintuitive UX decision to make. Basically, adding a Pixel Layer changes the Group blending mode from Passthrough to Normal without telling you and without a chance to make it behave like Passthrough. So I´ll just have to keep two separate groups, one for Pixel layers with blending modes, one for adjustment layers, and make sure I don´t mix them. Based on all the other threads I found about this, saying "it´s not a bug, it´s a feature", I guess a change is not coming any time soon. Cheers, Ivan

Hi, coming from Photoshop, I´m used to organizing my file into groups, having a group on top of my file, that contains a lot of "helper" layers, from composition quides (which work in Affinity Photo too) to overlays and adjustment layers to help me check contrast and colors of my image. Also, some global adjustments can be neatly tucked into their own group on top of the layers list, to keep the list tidy. This seems to not be possible in Affinity photo. I´ve wanted to ask, how to do this, but then I came across some threads answering similar questions, that this was by design and there is no way to affect anything outside the group by changing the blending mode of a layer or adding an adjustment layer. So I hope the first paragraph shows, how using groups as an organizational tool can be quite helpful in some workflows and maybe there´s a chance you might find a way to implement some kind of similar behaviour or tool in Affinity Photo. Basically, having a bunch of layers neatly tucked away and hidden inside a single group/folder/layer, but still behaving, as if they were standing on their own, affecting everything lower in the Layers list. Cheers, Ivan

Same problem here, according to Documentation, my exr should be imported like this:https://affinity.help/photo/en-US.lproj/index.html?page=pages/HDR/openexr.html?title=32-bit OpenEXR support, but instead, affinity photo ignores all the other layers. The EXR imports correctly into Blackmagic Fusion. Also using Redshift, so likely the same issue Mike was having. PS: +1 on the openEXR-like features, primarily cryptomatte support

Thanks MEB, using the Text tool and then clicking the text object works as expected.

also, I'm sending a test file to show the bug test.afphoto

If a text layer is placed under a mask layer, so that the mask affects the text layer, double clicking the text box selects the mask layer instead of entering edit mode for the text box. It's only possible to enter text box editing mode after you hide the mask layer above the text's layer.

This would really benefit my workflow. Right now, the color picker in the Brush tool is pretty much useless.

Hi eobet, thans for chiming in. As mentioned above, what is shown in the video is not actually the use of a cryptomatte pass, but rather a very crude method of using the diagnostic preview of the cryptomatte pass in the frame buffer of your renderer to do very crude selections and I find that quite off topic, or maybe just a lack of understanding of what cryptomatte is. Currently, I'm using a workflow, where I use Blackmagic Fusion to prepare my alpha masks from the cryptomatte pass to use in Affinity Photo, which brings me to my other problem, which is premultiplication of images with alpha, which I find difficult to manage. And which causes some amount of problems even with my current workflow. But this could only be a problem on my side. I'll try and start another thread on this topic.

This really needs to be added.

This looks really nice at first, but I'm kind of getting the feeling, that this is more of an awkward workaround, than a real implementation of cryptomatte. First of all, even after downloading the latest version, my cryptomatte passes don't get imported the same way they look in the tutorial and for some reason don't seem to allow me to do flood selections (probably because the values in the cryptomatte pass aren't really colors). My suspicion is, that before comp, they saved the cryptomatte, that is supposed to be an EXR to work properly, as a tiff or png or something from the vray frame buffer (so pretty much just a diagnostic view of the cryptomatte instead of the cryptomatte itself), to get the color info into affinity photo, discarding the data that makes the cryptomatte pass actually useful in the process. You can see at the file tab, that it's a 8-bit file, that could never hold the necessary amount of data for an actual cryptomatte layer to work. The workflow shown here looks more like using render ID passes, which I've seen some people do before cryptomatte became a thing, but's not the same. Please don't get me wrong, this can save you a lot of time setting up masks, but doesn't give you the functionality cryptomatte was supposed to give you. The way cryptomatte is supposed to work, is, as far as I understand it, that you get a channel for every object/material/tag, that the cryptomatte pass is supposed to capture and you end up with a file, that basically contains an alpha mask for every unique tag in the scene. Sure, the files get huge, but you get really nice selections including antialiasing and sub-pixel details. Kudos on the spare channels trick though. That is something I didn't know about and it looks super useful! But back to the topic. There's two problems with the workflow presented here: +one is, you're limited to 100 objects, that can be stored in the mask, if the Flood select tool slider works with 1% increments, which can be a problem in more complex scenes with 100+ tags, maybe even less, since the colors are assigned randomly and can be pretty close together at times +the other, much bigger problem, in my opinion, is the selection borders. Since you're not really extracting cryptomatte data, but only doing a flood select on a flat color image, you don't get antialiasing working and you lose definition in areas with very fine detail, often in sub-pixel scales. You'll also probably get nasty selection borders with glowing edges or some kind of ghosting, if you try and do some kind of a more extreme adjustment. Maybe I'm just clumsy, couldn't get it to work and am misunderstanding something, but I find this video a bit misleading to present it as working with cryptomattes. Cheers, Ivan

Hi, while I'm not on the beta, cryptomatte is a feature, I would really appreciate for postproduction of renderings. Would implementing this be possible? For those who don't know this, it's a render output in exr format, that holds masks for all the objects/materials/special tags for the entire scene and is starting to become the standard for post-production in softwares like Nuke or Fusion, it's also become available for Photoshop users thanks to the EXR-IO plugin recently. It would be great to have this in Affinity Photo as well. Cheers, Ivan