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  1. Aha! your 2nd question is exactly on point. Totally forgot about those settings in prefs. ...and didn't see the warning because it flashes off when the mouse is moved. But that is a different error to be reported. Many thanks~!
  2. Thanks for the interesting question OBruce. The MBP is a pre-retina display, and I don't think it is in P3...certainly not DCI P3. But I put the computer in the 2020 colorspace – or the OSX approximation anyway – and then opened Designer, then stuck in the USB stick and opened it. It opened in the DCI P3 space again. I did put a copy on iCloud and opened it on the iPad. It opened in 2020... If I remember correctly, this possibly started in DCI P3 – it is being made for cinema projection tests – and I changed it to 2020. Modified the colors, etc. But I wasn't satisfied so I opened a new empty file in 2020 and copied the the elements to the new file...this file that is attached. I wonder if there is some trace of that left and that is what is making the MBP act this way. Did you download and open it? What was your experience? Any other thoughts?
  3. SOLVED – wrong setting in prefs and the notification flashes away before being seen. =-=-= I had an open file (attached) that is in the 2020 color space, which I was working on on my iMac. I wanted to work on it on my MacBook Pro (2011) so I did a Save As to a USB stick, adding a RevA to the file name. On the MBP I Opened that file from the USB stick, then checked the Document Setup, and the file was in DCI P3. Checking my steps again, I dragged and dropped the original .afdesign file onto a different USB stick. I opened that one on the MBP and it too opened in DCI P3 space. I then Opened the RevA file on the iMac, and it opened in 2020. Perhaps this is normal behavior, but I thought I would report it. Thank you. 10Boxes4Colors-certain2020.afdesign
  4. Thanks again. This is a good re-start. I still have to work out the anomalies to make the blends right. There is a bit more hot spotting, which I had worked out before by pure trial and trial and error (and error). But at least I know how to work with the transparency tool better. I still have to figure out how to separate the triangle colors so they don't influence the ball colors. ...a layer inserted in between perhaps...perhaps it is that there is some details that I have to learn about blend modes. There was still a very slight position difference with the red circle, even though these were all clones of each other. I've messed with it and need to mess with it again since things are now a bit out of whack...(not on this low resolution png, but the actual TIFF shows it as a tear.) But I didn't want to let time go by without another note of thanks to firstdefence and >|<. TriCircNu3.afdesign
  5. Many thanks to you both. I'll try both suggestions soon – I messed with triangle creation, and realize my skills on making the color flow is going to take a bunch of research and practice. I must have just lucked into getting as far as I did. Just when I think that I know a bunch, I realize I am just beginning.
  6. Hi The attached designer piece has 4 circles of identical size but 4 different colors and angles. The attempt is to layer them perfectly upon each other, yet there is just enough wrong to cause a 'tear' on the outside edge for part of it when I export it. The non-overlapping parts show on the original art, and they show in a large TIFF and a small PNG. I have remade the circles and tried all kinds of things to make them actually perfect. I am hoping someone will have a suggestion. The final art will be a TIFF at 4K screen, though it might go to 8K. Thanks for any thoughts. TriCircNu.afdesign
  7. James, hi...and thanks...and...Good Eye. Indeed, this project started as a test of a few things, one being the effect of DPI for my final screen sizes, which tend to be 20 meters wide. And yes, it was started in P3 colorspace, but I don't know which one – perhaps it is in the History somewhere, or an old version. Of course, movies are in what are called the DCI P3 space, so it may have started there. And as you can see from the layers on the side, it started with a simple group of steps and moved up to what is no a huge bunch of options. I don't know if you have converted from space to space before, but it is always interesting. In this case, some of the color slider modes don't want to allow the new space white...in this case, the grey sliders for example will leave 100% white (RGB at 65353) as a yellow brown. But that is besides the point... I will try your idea of creating a new file. My ultimate experiment is to put the 2020 slides into the DCP creator (where they get converted to XYZ) and compare them to P3 slides put into the DCP creation tool then see how they do on a 6000 or 10000:1 projector. Math says it should all be the same, right? That, plus, ultimately there are a number of systems that can approach 2020. Again – I appreciate your input and will let you know what happens...on the road to CinemaCon now, ...oh, to your question. Existing profiles. (You don't think that an Apple screen will be allowed to have any shifting?) It was just striking, the color cast of that one export. I truly am relying on numbers being right, not caring what I see since my screen is not close to the final display. I'd be a different set of trouble if I had to show faces!
  8. Hello Perhaps I am not figuring something right, or expecting the unlikely, but... I developed the attached file as a cinema 4k image in 2020 color space. In addition to the gray scale steps there are a series of numbers that should be able to be discerned if a system is set up properly. I export to TIFF in 2020 and it seems fine – difficult to know for certain since my P3 monitor is emulating 2020 (iMac 5K). An export to 709 also looks OK (of course, after shifting the screen to that color space). An export to Native P3 looks OK. But when I export to DCI P3 it has a distinct color shift to red (after shifting the monitor color space to the desired DCI P3 or even to the Native monitor P3.) Am I misunderstanding what export to that space implies? Attached is that P3 file Tiff. Thank you. GreyStepScalesMidling.afdesign GreyStepScalesMidlingDCI_P3.tiff
  9. Dang...I tried to search before submitting...keep up the good work.
  10. Hi...draw a simple square...try to transform a dimension or location with a simple '/2' after the number in the transform. It ignores you. '*2' works...
  11. Part Two wins you the Internet yet again!@!@ I am so thrilled with these that I have incorporated them into some training sites that I run. Do you use Affinity Designer for the drawings and then hit them with some magic HTML5 stick to get them to work? They are fabulous.
  12. Hi Again. Background: I have created a series of images that have the purpose of going from a media player through a projector onto a screen, to judge contrast...or, at least, one component of contrast – being able to see into the dark actually. Run it one day – perhaps after the facility is calibrated and note the numbers, then run it later and look for changes. Since I don't know whether a room can 'see' 1% or a tenth or needs 5% luminance for any of the values of RGB and Black (grey), I am making a series for the preliminary tests. Problem is: I export from the attached afdesign piece, with all the 'meters' and scales, etc., with a black background and secondly with a transparent background. They look nice. The PNG (shown) doesn't do them justice at all, but the 16 bit TIFFs are great (attached is Adobe RGB, but the original work and final format is 2020). But when I place them into Final Cut Pro, the one with the black background look completely different than the one that is transparent (I have to place it against a black background from within FCPx). The color bars seem almost the same. The problem shows up especially in the red markings and numbers – on the transparent TIFF they are clear as a bell, bright, crisp (perhaps too bright.) The same red markings and numbers of the TIFF made with Designer derived black comes out barely see-able...as the screen grabs below show. I think the color at the center of the bars is also impinged with black. Because the 'clear' background TIFF shows up as white in Mac Preview, there is no way to judge with the eyes when comparing with the black background TIFF. And I don't have another program that I trust to see what is happening. I suspect that the black is leaching though the colors, even though they are full opacity. Any ideas? If they really are the same but for the background in AD, then I'll ask a FCPx forum. These are screen grabs from Final Cut of two TIFF files derived from the Affinity Design file, the top one with the black baked in, the bottom one with the black added as background to a 'transparent' background image. VertBars_5_and_1.afdesign VerticalMeters5_4K_TIFF_Clr_ARGB.tiff VerticalMeters5_4K_TIFF_Blk_ARGB.tiff
  13. I have no use for this specifically, but I learned so much about great little artistic nuances and techniques that I will definitely use from watching it. Many thanks for all the efforts~!
  14. TestTools

    Learning blending...any tips?

    Thanks for making and posting the PNG. In the absence of specific advice, I'll just keep poking around to improve the between-the-primary gradients that should bring out the Yellow and Cyan and Magneta. Turning off the white background of the triangle takes away the halo. Anyway, thanks again.
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