dmstraker

Unmesh has settled down into an engaging style. He used to come over as patronising which I suspect was based in uncertainty and trying too hard. It took me a while but I think I'm more relaxed now. The single take is certainly more challenging. Sometimes I have to redo it half a dozen times. I also edit for clicks, ums etc in sound spaces, add clarifying text and zoom in (including cropping out my head to get closer).

Presumably 'does not work'? I get what it should do but it's not happening for me on Windows.

Click Darken. Drag the crop inwards. Area of image outside crop area is a bit darker, helping to highlight the area you will be keeping. I can't find what Reveal does. I had thought it might, when expanding the crop area, reveal previously cropped areas, but no joy here.

Great videos as usual. Terse and clear. Well done James and the team. APh is a huge and complex bit of kit and videos are important both to get beginners off the runway and to explain the dark corners and intricacies for us older hands. The talking head video question is something I still fret about with my InAfffinity videos. I used it because many other successful channels also do so, but wonder a bit if it's helpful. I hope it gives a more personal connection. A big question is the size and scale of the frame for this as it necessarily obscures some of the window. The bottom left does seem best for this as it covers less key stuff in APh. I do wonder if the Serif videos might use a little less space. At least the right part of the image, which is showing just brick wall, could be clipped. Another thought: James is facing to the left, out of the picture and so directing gaze away from the main screen. Would it make more sense to guide the eyes into the video by facing to the right? An apology, comment and question: Sorry about this, but... The staging and style that James is using reminds me of Unmesh Dinda on his YouTube PixImperfect channel. Am I imagining things?

The gradient tool has gradually been improving. Thanks, folks! One last tweak suggested. Currently: Select gradient tool on left. Draw gradient. Default is white to grey. Ends up with grey node larger than white node as it has the focus. Just fine. Now want to change the grey colour, so select colour patch on context toolbar at top. I arrive at the Gradient tab. However, the left-hand white node is selected in the Gradient dialogue. So to edit the grey node, I have to re-select the right node. If this is not noticed, confusion results. If, however, I select the Colour tab, I can change the grey directly. Whether you go to the Gradient or Colour tab first is really a matter of policy. I'd be happy with either (though prefer Colour as it saves a little time and thinking). What really needs to be changed is that the node selected in the Gradient tab when you arrive there should be the same as the selected node in the drawn gradient.

Do not pass Go....

Just a tiddler: In Develop Persona, Lens tab, Defringe. I think 'Complimentary' should be 'Complementary'. Unless of course you just to say nice things about me. It's correctly spelled in Photo Persona (both destructive and non-destructive dialogues).

Also you can use Channel Mixer, RGB, Green. Then Green 0%, Blue 50%, Red 50%.

Here's one way, using shape overlay, gradient and a bit of noise:

If you're using regular sizes, you can set a grid and snapping (so no need to measure). Otherwise a non-snapped grid will still let you get a quick approximate measurement. You can also set guides and snap to these. Guides also show absolute position (needs a bit of subtraction). When I'm doing frequent same sizes, I'll sometimes set up a bunch of rectangles for each size and then snap to these. Or sometimes a 'square wave' with the pen tool (good for rescaling). Rectangles are also a good way to transfer a measure from one place to another. You can even rotate a rectangle (and hold down shift for snapped 15' increments). If you go to the Transform tab it will show you the position/size of selected rectangle (including after you have released it). You can set/change the rectangle size from here too.

This is similar to File/New From Clipboard (after Alt-PrtScn), which creates a lighter document.

What will happen somewhere along the way is code ageing, where complexity increases such that new features and fixes get harder and hence slower. When this happens depends on a number of factors such as: key programmer stability (don't want to lose people who understand how it all really works!), time pressure (like when pre-announcements are made), code complexity (fancy algorithms, etc) , code architecture (eg clean modularity), quality rigour (testing begins with specification, not code complete), and so on. Go slow to go fast is often a wise move, but such choices are not always in the hands of the programmers. I am, by the way, in awe of what the Serif folks have produced. This is non-trivial coding, folks!

In Photoshop the Fill Opacity has particular effects in the 'Special 8' blend modes as well as its use in 'Effects'. I can see it working in Effects, but not as PS-style Fill Opacity. Am I missing something?

Thanks, Chris. Just an extra thought: You could have a checkbox in Preferences for 'PSD compatibility'. If this is on, HSV (and other incompatible options) are not offered. If it is off (for people who are not concerned about compatibility) then AP can offer HSV and more of Serif's excellent innovations! Tx

Stitch a panorama (I had about a dozen images). Then when you're looking at it (before hitting Apply), the horizontal scroll bar only shift the view port only a bit, and not across the whole image. You have to use the Hand tool to drag the image sideways.

Hmm. Tried this again but working ok. Looks like non-normal twisted undergarments scenario.

Hi Chris, From my understanding, HSV differences: Hue seems identical. Decreasing saturation: Goes to a different form of monochrome -- appears to be more perceptual, so for example yellow becomes lighter. Seems the same as B&W adjustment plus opacity change. Increasing saturation: A different form of saturation. Decreases non-dominant colours more radically. Don't know how this is done without HSV.. Decreasing luminosity: Seems the same. Increasing luminosity: Removes black rather than adding white. Seems the same as Channel Mixer, CMYK, Black, reduce black. The HSV features are convenient and useful when, as with all features, once you understand them. I found the HSL format an easy and accessible way to use these extended features. Yes, most features can be obtained elsewhere (except increasing saturation), though these need additional keystrokes and more advanced understanding of the product. I get the desire to be compatible with PS and PSD files, though it seems very limiting for the potential of AP to go 'above and beyond' PS. You've already got excellent ways of exceeding PS, such as with Blend Ranges vs Blend If. Hope this helps. Dave

I queried a little while ago about the loss of the very useful HSV checkbox in the HSL panel, but the conversation faded into inconclusiveness. (No conclusion here either). So here's the question again: Why was HSV removed? Do you think we could have it back again? Many thanks!!

It's also happening with my 4K (also NVidia: GForce GTX 650). Maybe Microsoft needs to keep up. Do you have a developer's moan zone you can post on? I'm less than a flea in the trillion dollar MS world. I updated the NVidia drivers, to no avail. And yet PS, even old CS6 handles it ok...

And full clip, dual screen:

Thanks, @Chris B. It seems I draw the gradient, then rather than use the dialogue to change colours, I do it dynamically on the drawn gradient. Click on node, change colour. Neat and intuitive -- I get the idea. However the clicking away to get the full gradient dialogue now is counterintuitive. Can I suggest: Keep the improvement, so you can draw the gradient. When you click on the colour in the context toolbar, open at the 'colour' panel as now to allow node change, but also include a Gradient tab (and Swatches). Now when you click on Gradient, continue as if you've clicked away. This improves usability for people who are confused and don't get the extra step of clicking away and gives more flexibility.

Are you certain only Affinity does this? Not 100%, but certainly in the upper decile. Can you provide a screenshot? Below Does it happen every time for you? Yup Does it affect the release? Release what? It is happening in 1.6.

Add adjustment. Alt-click to edit it. Select Gradient Tool from LH menu. Drag to draw gradient. Type on Context toolbar say 'Linear'. All well and good. But click on the Context toolbar colour patch and you are not able to edit the gradient.

In Control Panel / System / Display, you can set 'Scale and layout' to such as (for my 40" 4K display) 150%. Much of AP respects this, giving decent-sized text. However, when you do file access, such as opening or exporting files, it is displayed at the equivalent of 100%. For us visually challenged folks, this required stressful nose-to-screen squinting.

I also just had the same effect going to the tone mapping persona. I suspect it's simply untidy handling when AP runs out of windows resources or is left waiting. I've not had the same issues with any other programme. Is there some kind of vector you can hook when windows says 'no'? and then unreel rather than just sitting and waiting? Maybe some kind of timeout interrupt that says 'It's taking a long time -- do you want to give up or keep waiting'?