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Hamburg - the best city of the world ;-)
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Collecting photons, filtering the best ones and polishing until they shine.
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Photon collector
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NotMyFault reacted to a post in a topic: Photo v2 Mac color replacement brush puzzle
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For those interested in luma/chroma/hue model https://en.wikipedia.org/wiki/HSL_and_HSV Color-making attributes See also: Color vision The dimensions of the HSL and HSV geometries – simple transformations of the not-perceptually-based RGB model – are not directly related to the photometric color-making attributes of the same names, as defined by scientists such as the CIE or ASTM. Nonetheless, it is worth reviewing those definitions before leaping into the derivation of our models.[D] For the definitions of color-making attributes which follow, see:[16][17][18][19][20][21] Hue The "attribute of a visual sensation according to which an area appears to be similar to one of the perceived colors: red, yellow, green, and blue, or to a combination of two of them".[16] Radiance (Le,Ω) The radiant power of light passing through a particular surface per unit solid angle per unit projected area, measured in SI units in watt per steradian per square metre (W·sr−1·m−2). Luminance (Y or Lv,Ω) The radiance weighted by the effect of each wavelength on a typical human observer, measured in SI units in candela per square meter (cd/m2). Often the term luminance is used for the relative luminance, Y/Yn, where Yn is the luminance of the reference white point. Luma (Y′) The weighted sum of gamma-corrected R′, G′, and B′values, and used in Y′CbCr, for JPEG compression and video transmission. Brightness (or value) The "attribute of a visual sensation according to which an area appears to emit more or less light".[16] Lightness The "brightness relative to the brightness of a similarly illuminated white".[16] Colorfulness The "attribute of a visual sensation according to which the perceived color of an area appears to be more or less chromatic".[16] Chroma The "colorfulness relative to the brightness of a similarly illuminated white".[16] Saturation The "colorfulness of a stimulus relative to its own brightness".[16] and layer blend modes (in Photoshop) hue, saturation, luminosity https://en.wikipedia.org/wiki/Blend_modes Hue, saturation and luminosity Photoshop's hue, saturation, color, and luminosity blend modes are based on a color space with hue, chroma and luma dimensions. Note: this space is different from both HSL and HSV, and only the hue dimension is shared between the three. See the article HSL and HSV for details. Unlike all of the previous blend modes described, which operate on each image channel independently, in each of these modes, some dimensions are taken from the bottom layer, while the remainder are taken from the top layer. Colors which end up out of gamut are brought inside by mapping along lines of constant hue and luma. This makes the operations uninvertible – after a top layer has been applied in one of these blend modes, it is in some cases impossible to restore the appearance of the original (bottom) layer, even by applying a copy of the bottom layer in the same blend mode above both. The Hue blend mode preserves the luma and chroma of the bottom layer, while adopting the hue of the top layer. The Saturation blend mode preserves the luma and hue of the bottom layer, while adopting the chroma of the top layer. The Color blend mode preserves the luma of the bottom layer, while adopting the hue and chroma of the top layer. The Luminosity blend mode preserves the hue and chroma of the bottom layer, while adopting the luma of the top layer.
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While this is probably in line with other adjustments and layer blend modes based on HCL, I start feeling some sympathy to those who rate this tool as useless. It is almost impossible to predict which replaced color you get from your input in color panel (made in RGB, HSL, or by just clicking in the „source“ color you want but do not get). Hue and saturation are roughly fitting, but luminosity is often much higher than both input colors. For me it looks more like a gamma correction gone wrong. Both input colors with 0.5 L lead to roughly 0.75 as result. The only reason to use the CRB is it’s nice property to re-sample the color continuously, which is not available in other workflows using regular masking / selection tools.
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thomaso reacted to a post in a topic: Remove Background
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NotMyFault started following Photo v2 Mac color replacement brush puzzle , About the raw files in Affinity Photo , Remove Background and 4 others
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About the raw files in Affinity Photo
NotMyFault replied to Nadar's topic in Affinity on iPad Questions
Whenever you open a file, Affinity will automatically enter either develop (for RAW) or photo (all other, non RAW) persona. So check the persona. Once you started editing or switching personas it is no longer easy to say with what file type you started. -
Remove Background
NotMyFault replied to GSPS.Wales's topic in Affinity on Desktop Questions (macOS and Windows)
Technically not. I just prefer to create helper pixel layers for selection purposes, and restrict tools to current layer. This helps avoiding numerous traps: selection in image layers in unreliable having many adjustments and filters active slows down selection having a fresh pixel layer avoids all misalignment issues with lower layers in different DPI or rotation it allows me to use tone map persona to further boost local contrast it allows to destructively paint in hard edges as in the example, I sometimes need to change color format or bit depth to get better selection results, so copy/new from clipboard is fast -
thomaso reacted to a post in a topic: Remove Background
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Remove Background
NotMyFault replied to GSPS.Wales's topic in Affinity on Desktop Questions (macOS and Windows)
To bring some creative ideas: Convert to LAB mode Duplicate layer add channel mixer adjustment set lightness to 0% set offset to 50% merge visible deactivate channel mixer Now use flood selection tool set tolerance to 10% click in blie area add mask invert mask use brush to fine-tune some edges of formerly very dark areas This gives a fast and easy selectionbased on color and works far better in LAB mode than in RGB/8 -
I quick update about rotation of pixel layers by 90° via mouse (or touch gesture on iPad) around the center point. In case the layer size in x/y direction is either both odd or both even, and the layer position is whole pixels, the reult will be sharp. In case one axis is even and the other is odd, you create a misalignmnet by 1/2 pixel affecting all pixels. So better avoid this method, or carefully check layer position and adjust to whole integer values after rotating! upper row: unrotated lower row: rotatet by 90° to the right
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NotMyFault reacted to a post in a topic: Designer, end caps, pressure profile
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Terminal message: Why did I receive this? Is it malware? I'm not a developer and don't know how to run chsh –s /bin/zsh, nor sure I want to. Everything was working pretty well. When I re-opened Affinity (V2), the text tool bar at top was hidden.
NotMyFault replied to Former MS Publisher's topic in Affinity on Desktop Questions (macOS and Windows)
The screenshots discloses you user account name / real name. To keep your identity private and avoid future damage, please remove the screenshot. Your post reveals no relevant information helping the forum users to support you. If you need support, please provide clear information about the issue you observe what kind of support you need pleas always consider this form is about Affinity apps and cannot replace basic IT knowledge -
NotMyFault reacted to a post in a topic: Odd thing happened on the way to the artboard...
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Hi, when combining end caps with pressure profiles, it gets compicated: When you assign size variance, the pressure profile affects the end caps correctly When you assign opacity variance, the pressure profile does not affect the end caps correctly I can't imagine any reason why this could be by design, so assuming a bug. What do you think? end cap pressure profile bug.afdesign
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Found it in help. icons are far too small (vs. upscaled version in help) to be notcable. 24px in help, with blue as dominat color 12px in reality -> 1/2 size in one axis, 1/4 of pixel area, with dark greyish color. (Windows, all default settings after fresh install OS and Affinity apps). https://affinity.help/designer2/en-US.lproj/pages/CurvesShapes/pressure.html
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Hi, i cant figure out what condition triggers the pressure profile of a brush stroke on a curve to lock start and end nodes to identical values. Sometimes i'm able to make them independently, sometimes both are locked to have identical values.Once i get them locked, i found no way to get them independednt again. Tried solid brush, image brush, intensity brush etc. In the example the blue is unlocked, the red is locked. locked ressure.afdesign
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Alfred reacted to a post in a topic: Photo v2 Mac color replacement brush puzzle
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Is would be a really bad idea if CRB would replace H S and L by a constant value chosen in color panel. This would create a solid fill color, like the regular paint brush. If the lightness of colors doesn’t match, you can add HSL adjustment (and merge it down) after having the color replaced. There are uncountable better workflows if you intend to change all three HSL for a source area in a meaningful way (keeping some of the texture).
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NotMyFault reacted to a post in a topic: Photo v2 Mac color replacement brush puzzle
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Alfred reacted to a post in a topic: Outline part of mask?
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Outline part of mask?
NotMyFault replied to Gatada's topic in Affinity on Desktop Questions (macOS and Windows)
can confirm. Me - 192cm, <75kg My son - 200cm, >90kg pure muscle due to training