James Ritson

Hi @Lamont1,
Firstly, any bespoke profile created with profiling software should only be used at the OS level. Using this bespoke profile as your document profile will effectively negate any colour management, and could cause inaccuracies for non-colour-managed software. For your document profile, stay in sRGB or whichever profile you are using.
Presumably you will be editing your images into a video format using editing software, in which case this should be doing the colour management between your image's colour space (e.g. sRGB, Adobe RGB) and your video colour space (Rec.709, Rec.2020 etc). Any differences converting from sRGB to Rec.709 should be negligible.
In summary, if you are working in a colour space wider than sRGB, you may want to try converting to sRGB during export (or use Document>Flatten and convert manually). It will somewhat depend on the editor you're using, and how they have implemented colour management.

Hello all, we're proud to announce that alongside the V2 launch of the Affinity apps, we've produced a completely new set of video tutorials to compliment the apps. These tutorials are all produced in-house by our Product Experts team.
We've worked incredibly hard on these videos, and feel they represent a huge jump in both technical and presentational quality. Hopefully you all agree! The old V1 videos—now considered legacy—are still available on YouTube, consolidated into one playlist. The link for this playlist is available at the bottom of this post.
Hope you all find the new tutorials useful!
What's New (Overview of V2)
What's New in Affinity Publisher 2 What's New in V2 for iPad Basics
Interface Overview (New: 22/03/24) Placing Images Transforming Layers Adjustment Layers Packaging Collecting Resources Linked and Embedded Resources Page Numbering Style Picker Advanced
Smart Master Pages Studio Presets Section Manager Auto Flow Notes Quick Grid Books IDML Import Opening, Editing and Importing PDFs Marquee Select Intersection Stroke Panel Rulers, Columns & Column Guides PDF Password Protection (New: 30/11/23) Tags Panel for Alternative Text (New: 30/11/23) Layer States (New: 20/03/24) Text Tools
Linked Text Frames Text Wrapping Text on a Path Hyphenation and Spelling Dictionaries Running Headers Pinning (New: 05/07/23) StudioLink - Designer and Photo Interworking
Designer Persona: Vector Drawing Photo Persona: Brushing Photo Persona: Live Filters Designer Persona: Multi Stroke and Fill Placing and developing RAW images Workflows & Techniques
OpenAsset Integration  

iPad Tutorials
Photo Persona: Paint Brush Tool Placing Images Designer Persona: Vector Drawing Command Controller Auto Flow Smart Master Pages Text Wrapping Linked Text Frames IDML Import Packaging Exporting and PDF Publishing  
Legacy V1 Tutorials
Desktop

This result could be that Windows 10 is tone mapping the HDR values to SDR, or it's falling back down the list of chunks in the metadata (the HDR signalling is contained in the cICP chunk, but if the decoder doesn't support the cICP or iCCN chunks it should use sRGB, iCCP, gAMA/cHRM in that order). I wonder if it's the latter, as the bright highlights on the shield don't look sufficiently tone mapped and are still slightly blown out.
Did you screenshot the Windows photo viewer to post it here? That could add another layer of colour management that prevents us from seeing the exact result you're describing. That said, if the PNG imports fine back into Affinity Photo then the HDR pixel values and chunks signalling the transfer function and colour space are in-tact. You might get the intended result if you import the PNG into something like an NLE that supports HDR display mapping (perhaps Davinci Resolve?)

Hey @Morten Lerager, you can indeed import FIT files into Affinity Photo and it will open them in a linear 32-bit pixel format. The data and compositing is actually linear, but there are a couple of things to note:
A gamma-corrected view transform is applied (but only to the view, not the actual document pixel values) so that the result on-screen looks consistent with a final export to a gamma-encoded format such as JPEG. Levels and Curves adjustment layers are added by default for basic tone stretching. You can hide or delete these. To go back to a linear format, Photo does offer the ability to save as a 32-bit TIFF. Alternatively, you can use JPEG-XL, OpenEXR or Radiance HDR (not sure if PixInsight supports these).
I'm not sure how inserting Affinity Photo into a PixInsight workflow pre-tone-stretch would be beneficial though—wouldn't you just tone stretch in PixInsight then export to Photo for further editing? It may be worth pointing out that you can achieve all manner of tone stretching methods in Photo, they're just not readily available as easy filters that you can apply. Some of them (e.g. colour preserving tone stretch, similar to Arcsinh) are implemented via macros which you can download.
Hope the above helps!

@DanAllen you need to be using a Metal view in order for EDR compositing to work (not to be confused with Metal Compute). Designer defaults to OpenGL, but you can change it by going to the title menu and Settings>Performance. Look under Display and it will be set to OpenGL. Change this to Metal and restart Designer, and you should then find that Enable EDR can be checked.
Here's a screenshot:

Hope that helps!

This result could be that Windows 10 is tone mapping the HDR values to SDR, or it's falling back down the list of chunks in the metadata (the HDR signalling is contained in the cICP chunk, but if the decoder doesn't support the cICP or iCCN chunks it should use sRGB, iCCP, gAMA/cHRM in that order). I wonder if it's the latter, as the bright highlights on the shield don't look sufficiently tone mapped and are still slightly blown out.
Did you screenshot the Windows photo viewer to post it here? That could add another layer of colour management that prevents us from seeing the exact result you're describing. That said, if the PNG imports fine back into Affinity Photo then the HDR pixel values and chunks signalling the transfer function and colour space are in-tact. You might get the intended result if you import the PNG into something like an NLE that supports HDR display mapping (perhaps Davinci Resolve?)

Hi @BryanB, we did address the main issue with Navi/Big Navi architecture cards—in conjunction with driver updates issued by AMD—which was OpenCL kernel compilation times (they were interminably slow). This was last year, for 2.2 release I believe. Photo accelerates the majority of its raster operations with OpenCL, so many kernels need to be loaded quickly when required. As you can imagine, this caused a bit of a bottleneck with those GPUs.
I did test on a typical AMD Ryzen/GPU combo last year (I think it was a 6000 series GPU) and found performance to be much more acceptable. I've also recently used one of the weaker workstation GPUs (7000 series) and that was OK as well. An nVIDIA card would still—for the time being—give you more peace of mind in terms of driver compatibility for the way OpenCL is leveraged in Photo. I've used a 2070, 3090 and 4090, and apart from a driver issue early last year which was mitigated in-app, they have all been reliable. This is, however, one person's experience, so do bear that in mind. I build my own PCs and start with a fresh Windows install, then keep any additional software outside of what I need to use to a minimum. There is often a recommendation to stick to the Studio drivers, but in practice I haven't found the general gaming ones to be any less reliable.
Hope the above is helpful in some way!

Just a quick thread bump to inform you that I've improved the method used for this colour correction (it now uses gamut compression as detailed in an ACES paper). The result is noticeably higher quality and more 'pleasing' than the previous thresholded gamut shift method. I've updated the screen recording and .afmacros attachment in the post above. Hope it helps!

Hello all, we're proud to announce that alongside the V2 launch of the Affinity apps, we've produced a completely new set of video tutorials to compliment the apps. These tutorials are all produced in-house by our Product Experts team.
We've worked incredibly hard on these videos, and feel they represent a huge jump in both technical and presentational quality. Hopefully you all agree! The old V1 videos—now considered legacy—are still available on YouTube, consolidated into one playlist. The link for this playlist is available at the bottom of this post.
Hope you all find the new tutorials useful!
What's New (Overview of V2)
What's New in Affinity Designer 2 What's New in V2 for iPad Basics
Interface Overview (New: 22/03/24) Transforming Layers Adjustment Layers Layer Effects Placing and Scaling Images Colour Panel Undo, Redo and Undo History Copy, Paste and Duplicate Blend Modes Assets Navigator Panel View Modes Styles Panel Clipping and Masking Aligning, Distributing and Unifying Objects (New: 28/02/24) Advanced
Expand Stroke Artboards DWG/DXF Import & Export (Updated: 28/02/24) Placed Layer Visibility Stock Panel Ruler and Column Guides Style Picker Symbols Pixel Grid Layer States (New: 28/02/24) Vector Tools
Stroke Panel Vector Warp Vector Flood Fill Pen Tool and Node Tool Shape Builder Knife and Scissor Tools Pencil Tool Corner Tool Shape Tools Artistic & Frame Text Tools Booleans and Compounds Data Entry Spiral Tool Raster Tools
Flood Fill Tool Smudge Brush Tool Paint Brush and Erase Brush Tools Symmetry and Mirroring Live Perspective & Mesh Warp Text Tools
Text on a Path Workflows & Techniques
Vector Flood Fill with Bitmap Patterns Vector Mandalas  
iPad Tutorials
Exporting Layers Panel Navigator Panel Assets Shape Builder Vector Flood Fill Tool Smudge Brush Tool Symmetry and Mirroring Pen & Node Tools Paint Brush & Erase Brush Tools Knife & Scissor Tools Pencil Tool Command Controller Rulers and Column Guides Style Picker  
Legacy V1 Tutorials
Desktop iPad

Hey Irving, I downloaded the data from Telescope Live today and had a quick go at processing. I came up with the attached image. I've intentionally gone a bit over the top (especially with the colour processing) to hopefully demonstrate that Photo can indeed stack the data quite well and that you can bring out plenty of detail. It would be easy enough to tone the result down if the colours are too garish.
I did the following:
Mono Log Stretch on the L-RGB data layers L-RGB colour mapping Linear fit using Blue data as the base scale Star separation using StarXTerminator Super Texture on the starless layer HSL and Selective Colour to increase saturation and then skew some of the colours to make them more vibrant Reduce Background Luminosity Deepen Colour Detail Enhance Red/Green/Blue/Magenta/Yellow signals Enhance Blue/Green Detail Boost Red/Yellow Detail HSL to reduce saturation slightly Merged to Pixel layer in order to run NoiseXTerminator (not particularly necessary for this image since noise was pretty good, but just to clean it up slightly) Enhance Structure Highlight Protected Tone Lift Highlight Recovery Bandpass Sharpening (Regular) Stars layer at very top (with Add blend mode) Finally, I did rotate the image 180 degrees to match the version you posted above.

 

Hello all, we're proud to announce that alongside the V2 launch of the Affinity apps, we've produced a completely new set of video tutorials to compliment the apps. These tutorials are all produced in-house by our Product Experts team.
We've worked incredibly hard on these videos, and feel they represent a huge jump in both technical and presentational quality. Hopefully you all agree! The old V1 videos—now considered legacy—are still available on YouTube, consolidated into one playlist. The link for this playlist is available at the bottom of this post.
Hope you all find the new tutorials useful!
What's New (Overview of V2)
What's New in Affinity Designer 2 What's New in V2 for iPad Basics
Interface Overview (New: 22/03/24) Transforming Layers Adjustment Layers Layer Effects Placing and Scaling Images Colour Panel Undo, Redo and Undo History Copy, Paste and Duplicate Blend Modes Assets Navigator Panel View Modes Styles Panel Clipping and Masking Aligning, Distributing and Unifying Objects (New: 28/02/24) Advanced
Expand Stroke Artboards DWG/DXF Import & Export (Updated: 28/02/24) Placed Layer Visibility Stock Panel Ruler and Column Guides Style Picker Symbols Pixel Grid Layer States (New: 28/02/24) Vector Tools
Stroke Panel Vector Warp Vector Flood Fill Pen Tool and Node Tool Shape Builder Knife and Scissor Tools Pencil Tool Corner Tool Shape Tools Artistic & Frame Text Tools Booleans and Compounds Data Entry Spiral Tool Raster Tools
Flood Fill Tool Smudge Brush Tool Paint Brush and Erase Brush Tools Symmetry and Mirroring Live Perspective & Mesh Warp Text Tools
Text on a Path Workflows & Techniques
Vector Flood Fill with Bitmap Patterns Vector Mandalas  
iPad Tutorials
Exporting Layers Panel Navigator Panel Assets Shape Builder Vector Flood Fill Tool Smudge Brush Tool Symmetry and Mirroring Pen & Node Tools Paint Brush & Erase Brush Tools Knife & Scissor Tools Pencil Tool Command Controller Rulers and Column Guides Style Picker  
Legacy V1 Tutorials
Desktop iPad

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

Hey Irving, I downloaded the data from Telescope Live today and had a quick go at processing. I came up with the attached image. I've intentionally gone a bit over the top (especially with the colour processing) to hopefully demonstrate that Photo can indeed stack the data quite well and that you can bring out plenty of detail. It would be easy enough to tone the result down if the colours are too garish.
I did the following:
Mono Log Stretch on the L-RGB data layers L-RGB colour mapping Linear fit using Blue data as the base scale Star separation using StarXTerminator Super Texture on the starless layer HSL and Selective Colour to increase saturation and then skew some of the colours to make them more vibrant Reduce Background Luminosity Deepen Colour Detail Enhance Red/Green/Blue/Magenta/Yellow signals Enhance Blue/Green Detail Boost Red/Yellow Detail HSL to reduce saturation slightly Merged to Pixel layer in order to run NoiseXTerminator (not particularly necessary for this image since noise was pretty good, but just to clean it up slightly) Enhance Structure Highlight Protected Tone Lift Highlight Recovery Bandpass Sharpening (Regular) Stars layer at very top (with Add blend mode) Finally, I did rotate the image 180 degrees to match the version you posted above.

 

Hello all, we're proud to announce that alongside the V2 launch of the Affinity apps, we've produced a completely new set of video tutorials to compliment the apps. These tutorials are all produced in-house by our Product Experts team.
We've worked incredibly hard on these videos, and feel they represent a huge jump in both technical and presentational quality. Hopefully you all agree! The old V1 videos—now considered legacy—are still available on YouTube, consolidated into one playlist. The link for this playlist is available at the bottom of this post.
Hope you all find the new tutorials useful!
What's New (Overview of V2)
What's New in Affinity Photo 2 What's New in V2 of Affinity Photo for iPad Basics
Interface Overview New Document (New: 22/04/24) Placing Images Transforming Layers RAW Development Resizing and Resampling Undo, Redo and Undo History Cropping Exporting Input Mouse Wheel Scrolling (New: 4/01/24) Aligning, Distributing and Unifying Layers (New: 28/02/24) Advanced
Blend Options: Ranges, Antialiasing and Fill Opacity Non-Destructive RAW RAW Tone Curve Layer States & Queries (Updated: 29/02/24) HDR Merging and Tone Mapping Panorama Stitching Panorama Source Image Mask Tools Liquify Power Duplicate PSD/PSB import, export and smart object functionality Keyboard and Mouse Brush Modifier Tool Cycling Studio Presets Scope Panel Stock Panel Channels LAB Colour Model Stacking: Object Removal Stacking: Long Exposure Emulation Export Persona Focus Merging Batch Processing Macros Luminosity Blend Mode OpenColorIO Setup and Usage HDR PNG Import and Export (New: 28/02/24) Layers
Mask Layers (Updated: 18/01/24) Groups Clipping and Masking Layers Compound Masks Soloing Layers Linked Layers Luminosity Range Masks Hue Range Masks Band Pass Masks Layer Colour Tagging Pattern Layers Pattern Layers for Plans & Diagrams Masking Adjustment & Live Filter Layers Using Fill Layers (New: 11/10/23) Tools
Configuring the Tools Panel Artistic and Frame Text Tools Paint Brush Tool Clone Brush Tool & Sources Panel (New: 12/01/24) Filters and Adjustments
HSL Black and White Invert Adjustment Split Toning Colour Balance Lighting Filter Normals Adjustment Unsharp Mask High Pass Filter Clarity Gaussian Blur Median Blur / Dust & Scratches Procedural Texture: Non Destructive HDR Tone Mapping Displace Filter Haze Removal Recolour Adjustment Vibrance Adjustment Defringe Filter (New: 29/11/23) Astrophotography: Linear Fit Astrophotography: Remove Background (New: 05/12/23) Corrective & Retouching
Inpainting Manual Lens Correction Profiles Transforming Selections Workflows & Techniques
Basic Image Edit Lock Children Layers for Masking (New: 28/02/24) Colouring and Annotating Plan Diagrams Basic Architectural Visualisation Edit Basic Edits with the Develop Persona Elevation Rendering Workflow Archviz Composition Workflow Digital Collage Infrared Emulation Creating Volumetric Light Unassociated Alpha and Alpha Render Passes External Linking for Compositing High Dynamic Range Workflows (best viewed on an HDR supported display or device) Astrophotography: File Groups Moon Processing Workflow (New: 12/10/23) Wildlife Editing Example (New: 15/12/23) iPad Tutorials
RAW Development Adjustment Layers Filters and Live Filters Mask Layers (New: 23/01/24) Exporting Placing Images Command Controller File Management: Loading & Saving  
Legacy V1 Tutorials
Desktop iPad

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

The issue is related to complexity of colour and values falling outside of the gamut being used for colour processing (Photo uses ROMM RGB internally for raw development). I wouldn't advise underexposing whilst shooting to try and mitigate the issue, as that will compromise the quality of your images: rather, it's something that needs to be addressed by Photo's RAW development (it is being looked at).
Magenta solarisation in saturated blue areas is typically seen when one or two of the components (R,G,B) have negative values—from user reports, this is the most common form of artefacting. Other issues can occur as well, such as worsening of colour fringing and banding around intense areas of light.
There are a handful of solutions that exist for this issue, and thanks to the open nature of the VFX community they are fairly well documented. I've recreated one of these solutions (a colour matrix shift that protects 'core' values based on a threshold) as a macro. If you want to continue developing your RAW images in Affinity Photo, you're welcome to try it and see if it helps?
To use it effectively, you need to develop your RAW images to a linear unbounded colour format. This is easily done via the Develop Assistant settings. Here are the steps:
Install the macros (drag-drop the .afmacros file onto Affinity Photo's user interface) Without opening a file, go to the main assistant settings (the robot icon), then click the "Develop Assistant" button to go to the RAW development settings Change RAW output format to "RGB (32 bit HDR)". Important: leave Tone curve set to "Take no action" Open your RAW file and perform any initial editing, then develop it Run the "Gamut Compression (sRGB)" macro. You can also try the Tone Mapping variant, which will compress the dynamic range. This may be useful for scenes with intense lighting. The ROMM variants are for if you want to edit in a wider colour space—the usual caveats with colour management apply here... The image will be corrected, then converted to 16-bit per channel precision so you can continue regular editing Here is a screen recording of the process as well:
 
Screen Recording 2023-11-09 at 11.58.06.mp4
I've included the old gamut shift method in the macros as well, as you may find that you prefer the result depending on your own imagery (it tends to produce a more saturated result).
 Hope that helps,
James
 
 
JR - Out of Gamut Colours Fix.afmacros

Just a quick thread bump to inform you that I've improved the method used for this colour correction (it now uses gamut compression as detailed in an ACES paper). The result is noticeably higher quality and more 'pleasing' than the previous thresholded gamut shift method. I've updated the screen recording and .afmacros attachment in the post above. Hope it helps!

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

It was introduced last year: https://www.w3.org/TR/png-3/
So far, FCPX and Davinci Resolve appear to support this (I haven't tried other editors yet), as well as macOS Sonoma and various web browsers, so it's getting fairly decent adoption. It looks to be a good solution for interchanging HDR broadcast imagery in a lossless format. OpenEXR is supported by most NLEs but has non-user-friendly colour management.
JPEG-XL was possibly going to be a good solution, but Chrome dropped it (not long before/after we released V2, I think) and support for it isn't widespread.
The cICP chunk in this PNG format allows the image to be tagged and processed with various video-centric colour spaces, which is more robust for broadcast workflows where the imagery needs to integrate seamlessly with video content, rather than being dependent on ICC (particularly for HDR content where you have HLG/PQ colour spaces with different transfer characteristics).

Hi @chillywilly, as you've discovered, JPEG is a bounded format and so your HDR values above 1 will be clamped. We are waiting for some kind of standardisation of HDR image formats on both Windows and macOS before implementing a suitable export format. At the moment, the only formats you can really use to keep those HDR values are EXR, HDR and TIFF set to 32-bit in the More options on the export dialog.
There are various approaches you can take to tone mapping. After doing your bracketed HDR merge, it sounds like you have tried using the Tone Mapping Persona and experimenting with the tone compression, local contrast and shadows/highlights sliders on the Basic panel? That is usually sufficient to get a tone mapped result where the highlights are no longer out of displayable range, but if it's not working for you there are a couple of other options you can try.
Within the main Photo Persona, we have a live Shadows/Highlights filter located on the top Layer>New Live Filter Layer menu. You can drag the Highlights Strength slider all the way to the left, then increase Highlights Range gradually—this works quite well for Archviz HDR 3D renders so you may want to try it for your photography (I presume real estate/architecture from the image you've attached?).
There is another option, which is to use a live procedural texture filter to perform a logarithmic transform, then shape the resulting tones using adjustment layers or 1D shaper LUTs. I'm slightly nerdy (🙃) so I dabble in a bit of macro creation in my spare time and provide some free macro downloads that may help you out here:
HDR Tone Mapping macros: https://www.dropbox.com/sh/xa5gfxwup9uzhr9/AACTWvndBbY4FhTLQ9cGS3_na?dl=0
Blender Filmic Transform macros: https://www.dropbox.com/sh/q5b2zlwytd3slr0/AADYfcI6JykHfn4w3NR3279za?dl=0
The Blender Filmic macros are actually designed for HDR 3D renders so users can match the filmic output they get in blender when saving directly to gamma-encoded formats like JPEG/TIFF etc, but they work very well for HDR photography as well. Don't tone map your HDR merge output at all (uncheck the option on the HDR merge dialog or cancel out of the Tone Mapping Persona), then run the appropriate macro from either of the two macro sets above and you'll be able to tone map your images with a more natural result. Don't forget there are PDF manuals available via those links too which will explain how to install and use the macros.
Hope that helps!