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Jeroen

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  1. Thanks
    Jeroen got a reaction from Chris B in Live denoise shows strange artifacts, also with export   
    I uploaded "About this Mac' to the Dropbox link you provided. Please let me know if I can be of further help.
  2. Like
    Jeroen reacted to James Ritson in Official Affinity Photo (Desktop) Tutorials   
    Hey all, just updating you with a new tutorial: HDR from one exposure
    The list in the first post has been updated too. This video looks at taking advantage of Photo's 32-bit unbounded colour format to tone map a single RAW image and make the most of its dynamic range. Hope you find it useful!
    Hi Dave, I can definitely say that it makes a big difference. I think people naturally engage more if they see the person presenting, but I believe it benefits the presenter equally. When you're constantly on camera, it becomes more of a performance and you have to engage with what you're saying. It makes the speech and flow more natural because it's as if you are presenting to someone rather than at them—that's what I've found anyway  It also encourages a single take process, as opposed to having the crutch of being able to edit the video afterwards. With the exception of a couple of videos (e.g. noise reduction stacking where creating the stack takes some time) the Photo videos are all done live (including the fade in/out) and it's something I'm keen to continue. It is quite challenging however!
    The whole one take, live studio concept is still relatively fresh so I'm evolving things as I go. Thank you for your suggestion of cropping, I may well give that a go. Regarding swapping the iMac direction, some videos actually put the picture-in-picture in the Navigator panel area so there would always be an issue of which way the presenter is facing.
    I'm aware of Unmesh, he's great. The whole studio concept came about from watching a variety of teaching channels. There are some consistent themes between them all like having a studio "set" and using picture-in-picture. We wanted a live environment where the presenter could mix on-the-go and have a video file at the end which can be uploaded straight away, so everything is tailored around that approach. Colour grading for the camera, audio EQ and compression, fading in and fading out—these are all applied in real time as opposed to part of an editing process. In terms of presentation style, I believe I'm a bit dry compared to Unmesh, he's a very lively character 
  3. Thanks
    Jeroen got a reaction from anon2 in Overexposed areas show black when overlayed - suspected bug   
    My apologies if I angered you. I myself felt annoyed that you seemed to keep denying my position that there is a real problem in the software, without addressing my arguments. This might have coloured my replies in turn. Sorry again if that angered you. Perhaps it was all miscommunication.
    To be clear, my posting was not so much to ask for a way around the practical problem how to deal with a faulty implementation, but to alert Serif to a possible issue with their beta software. After all, that’s what beta’s are for. That I now, thanks to you, know that the same issue exists with 1.6 makes it all the more relevant.
    You suggested a practical way for me around the problem for now, and thank you for that. For myself, the simplest solution is to stick to 16 bits until the problem is solved. I can live without 32 bits.
    Thanks again, and no hard feelings I hope.
  4. Like
    Jeroen got a reaction from stokerg in Support for Canon EOS 77D?   
    Not sure what your setup is, but I found that the Wifi connection to the iPhone/iPad only downloads JPEG files (and, annoyingly, gives them random names at the receiving end, losing the neat name sequencing  the camera). There are also limitations to the EXIF data that are transferred. This is using Canon's Camera Connection App. I suspect it is a limitation of the Wifi setup on the camera side, which may explain your problem with the Mac as well.
    To avoid the problem, I either read the files directly from the SD card, or, if there is no SD card reader available, I use the USB cable to connect the camera to a USB port on my device - in my case, if the device is an iPad/iPhone,  through the Apple Camera Connection kit. Either of these methods transfers both JPEG and RAW files, with all the EXIF information intact. Too bad Wifi cannot do that. If you are into raw processing, Wifi really seems only useful to get a quick preview of a photo or to quickly send it to a friend, not for quality work.
    Hope this helps,
    Jeroen.
  5. Like
    Jeroen got a reaction from anon2 in Exorbitant afphoto file size   
    I do understand the choice for performance/flexibility here, and I applaud it. For the most part, when working on a project I find AP a joy to work with, and responsiveness is a big part of that.
     
    Having said this, storage is equally important to me from the point of view of managing my photo editing  as a whole. I know that disk storage is cheap, but for added security I have (a) Time Machine backups, and (b) backup in the cloud to cover for physical damage or loss. That does become a problem when I want to using AP as a focal point in my workflow (as opposed to using it for just a few photos at a time and then throwing the project away, only keeping the JPEG result).
     
    The key phrase in MEB’s reply to me is “while working on a project”. Most of the time I am working on only a few projects. The others are dormant, but I want the opportunity to come back to them.  
     
    So what about catering for “while NOT working on a project”? In other words, an archive format optimized for space? When one is done with a project for the time being, it could be moved to archive format (at the discretion of the user).
     
    From what I can see, there are great possibilities to save on space, if one does not mind to once in a while wait a bit while converting an archived project to working format; that is, when one wants to come back to it. Losless compression of pixel layers is but a beginning. For adjustments there are already macros, if you store them: no need to store the result. Gradients: can be stored with a few bytes. Brush strokes, with a bit of work: same. Once there is non-destructive develop: no need to store the developed version, saving enrmous amounts of space. Etc.
     
    I am not suggesting that all of this can be done overnight, and that there are no complications (think of maintaining backward compatibility; but that must already be a concern with storing history anyway). But it could be done gradually. And in view of the many concerns about file size I read about, I think it would take AP right into another league for (semi-) professional work.
     
  6. Like
    Jeroen reacted to Chris_K in Gradients and Blur don't calculate correctly   
    Hi Squizit
     
    Thanks for bringing this to our intention. I shall make sure it get passe don to the development team. As this is more of a feature request than a bug I;m moving this to our feature requests section
     
    Cheers
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