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kyledevlin

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  1. Hi Chris, Thank you for the great reply, I am aware of the adjustments being masks within themselves and I love that feature so much more intuitive, it is unfortunate that one adjustment clipped to another does not pass that adjustment down the stack, I would suggest that affinity should not allow adjustments to be clipped to each other when they have no effect its a bit confusing. I tried all the methods you described and the method of using both adjustment layers in a group with a mask attached to the group causes some false color banding this looks like a bug as this banding and false color does not appear when using the same mask on both adjustment layers like you suggested. Pics D&B1 and D&B2 are the same pic of the banding just with arrows pointing at said false color banding and pic D&B3 is the same adjustments using the same mask method via select from layer working correctly pic D&B4 is the adjustment turned off just so you can see that the hair line was darkened just slightly. Also the ramping on revealing the inverted mask of the grouped adjustments are really fast with flow set at 1% the layer was revealing much faster than inverted reveal masking on the existing adjustment masks it was similar to a 10-15% flow rate. that could be a possible bug as well. As far as workflow considerations go I have a bit of a rant below so I apologize now but I would love to see your product mature into the PS killer app you guys set out to be. The select from layer mask method works but is a brutal work around as the dozens of hours of retouching that has to go into dodging and burning with out the saturation levels adjusted will cause all kinds of false color problems. This is not a good way to get professional retouchers like me to fully adopt your wonderful software, but I honestly love the inpainting brush used for skin blemish removal it is absolutely brilliant, and being able to work at full speed on my MBP at a coffee shop instead of just in studio on the mac pro is fantastic. But this D&B thing is a real problem that I hope can get corrected. If the grouped adjustments with one mask worked that would be a fine fix, judging skin values for correction is a tough thing without proper saturation values so making the D&B adjustments before correcting the saturation is just not realistic. These are the same techniques Julia Kuzmenko McKim and Michael Woloszynowicz teach that tons of other beauty and fashion photography professionals use we spend 4-8 hours per image just dodging and burning the micro transitions of the skin between the pores to get our smooth finished product, so spending that kind of time with out proper saturation values is just a nightmare. Is there any way to request a saturation adjustment slider be added to the curves panel? ps cs6 changed their curves to reduce these saturation effects. These curves behave like ps7-cs5 unfortunately. Or can we request when clipping multiple adjustments to one another pass those adjustments down the stack to the visible pixel layer? I would love to never have to use adobe products again Im already doing all my raw editing work in Capture 1 along with shooting phase one medium format cameras so I would love to be able to just make the switch fully to you guys from PS. Thanks again. Kyle
  2. When using a curve masked to a specific area to adjust the brightness values of skin tones this causes the saturation values to increase, so it is necessary clip a HSL desaturation adjustment to it to bring the values back in line. I have tried every combination of clipping and masking these two adjustment layers together with no success. In PS this is the core of beauty photography retouching. Passing the adjustment down through clipping is a standard behavior of adjustment layers clipped to another adjustment layer with mask. Here are screenshots with all the attempts in the layer tabs as well as the Ps example. If there is a workaround please let me know. Thanks Kyle
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