Jump to content

Search the Community

Showing results for tags 'Workflow'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Affinity Support
    • News and Information
    • Affinity Support & Questions
    • Feature Requests & Suggestions
  • Learn and Share
    • Tutorials (Serif and Customer Created Tutorials)
    • Share your work
    • Resources
  • Bug Reporting
    • Report a Bug in Affinity Designer
    • Report a Bug in Affinity Photo
    • Report a Bug in Affinity Publisher
    • (Pre 1.7) Affinity Range Bugs Forums
  • Beta Software Forums
    • Affinity Designer Beta Forums
    • Affinity Photo Beta Forums
    • Affinity Publisher Beta Forums

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests

Found 122 results

  1. Hi Affinity team. During the last days I tested the Windows version of Affinity Photo 1.5.1 and checked out those parts most important to me: RAW processing, HDR/Tone mapping and stitching Panoramas. (The video tutorials are great for newbies concerning your software.) I am happy to see all these features under a common hood and working reasonably well (although there are issues like the wrong histogram displayed in Develop persona which will refrain me from using Photo as default RAW software for now.) What I want to achieve: For years now I'm accustomed to create HDR images from a single RAW file instead a series of JPG or RAW files. The benefit is that there are no problems with motion (and thus ghosting) in the image, and no softness as a potential side-effect of the automatic alignment of handheld shots. Today's DSLR cameras create RAW images which can easily compensate 3 EV steps. (Depending on sensor size and ISO, the downside can be higher noise in dark areas, but that's acceptable for me.) My conventional approach is to develop 3-5 differently exposed JPG images (usually with different noise reduction settings) and then creating the HDR from these. This approach is very cumbersome with Affinity Photo, which does not even remember the RAW conversion settings I last used by default. Once a RAW file is developed, the Develop persona is closed and I have to start over for the next exposure. (In contrast to a dedicated raw converter like Canon's DPP or Nikon's NX-D where this is a no-brainer and easily done.) But maybe Affinity has a better approach? What if you could develop the raw file and apply a tone mapping without JPGs inbetween? Lets see, Photo Persona works in 32 bit, and RAW files can be developed to 32 bit HDR. Sounds promising. 1. I import the RAW file, disable applying the tone curve and leave the exposure-related settings untouched. 2. Then I put the developed 32 bit image into the Tone mapping persona -> Voilá, a developed HDR image. And what if I have a panorama of single RAW images which needs HDR processing? 1. You can start a "New batch job", select the RAW files to process and choose EXR as output format. 2. Then you can continue creating the panorama with "New panorama" and select the EXR files as shown in the HDR panorama video tutorial. 3. After the panorama has been stitched, it can be tone mapped in the Tone Mapping persona. Cool - this is a real time saver and more flexible regarding adjustments compared to my previous workflows which would mean first tone mapping every HDR image and then stitching the (hopefully equally exposed) JPGs together. Matthias.
  2. Not directly affinity photo ipad related, but maybe the community can help me out here. I'm a starter in photography, have a serveral hundered raw files to work with and are looking for an ipad pro 12.9 with affinity ipad. (My old macbook is slow and does not last lang on battery anymore, dont want to buy a new one, i already do everything on my normal ipad mini and iphone) So i am looking for a complete mobile workflow, i saw that i can use diffirent cloud spaces so place anough to store the raw files. But who has experience with organizing and add taggs to the edited photo's? which app is the best for this, or any tips and tricks are welcome. Thanks guy's
  3. HI, I'd like to better understand how to best implement an ACES workflow in Photo for 3D still EXR renders. My goal is to be able to work in the expanded colorspace that ACES provides for editing and be able to export my images for print (with an AdobeRGB profile) and web (sRGB). I'm currently using Octane as my render engine which at this time will only render to the sRGB primaries in linear EXR format. ACES is planned for the upcoming release however so I'd like clarification on 2 scenarios. If anyone has deeper insight into this I'd really appreciate the feedback. I watched the Affinity Photo OpenColorIO video (https://affinity.serif.com/en-gb/tutorials/photo/desktop/video/329071149), but trying to apply this process with ACES just added more confusion. @jamesritson this would be a great topic for another video! (also thanks for creating all of the tutorial videos, they're well done and very helpful!) Scenario 1: Converting a linear (sRGB) EXR render to ACEScg for editing and then exporting either an sRGB for screen or an AdobeRGB image for print As far as I understand it, there are three components to this process: Setting your color preferences OCIO config file to the ACES config (I'm using the latest 1.0.3) The 32-bit Preview panel Display Transform The OCIO Adjustment layers For the 32-bit Display Transform, what do I need to set it to in this scenario? With ICC it looks exactly as it did in my IPR in Octane. Following along with the video this would seem to be the right approach, but in the video he's using Filimc Blender which I behaves differently from ACES and I'm wondering in this case if this same approach (ICC display) works properly when converting and editing in ACES. With the 32-bit Preview OCIO Display Transform set to sRGB (view transform) and ACES (device transform) it looks darker and more green. (my screen is calibrated to sRGB), though the exposure adjustment behaves completely differently for OCIO / ACES and is much smoother as I would expect than when the DT is set to ICC. I'm assuming that the green tint is due to the fact that I hadn't added an OCIO adjustment layer. When I add an OCIO Adjustment as Source: lin_srgb, Destination: acescg the tone balances out, but the overall image is darker. I'm assuming that this is the look of the ACES transform on a linear sRGB image, but I'm not certain I'm setting this up correctly. For the OCIO Adjustment layers what would be the correct setup? From what I understand I need one OCIO layer to specify the input source type and destination type which I set as lin_srgb and acescg respectively. Then for the output I would create another OCIO layer and set it to the reverse?.. Source: acescg, Destination: lin_srgb? How would I export to AdobeRGB or another space like ROMM in this scenario? Scenario 2: Opening a linear EXR ACEScg render for editing and then exporting either an sRGB for screen or an AdobeRGB image for print I'm just future proofing here and bloating this post, but assuming that Octane updates this year with an ACEScg render option would I just append an 'acescg' siffix (my_render-acescg.exr) to the file and open it in Photo? Do I need to add an import transform OCIO layer to specify that it's ACEScg or do I just create an out transform layer? Finally 2 last questions: I'm assuming that all of my image adjustment edits will be done between the input transform OCIO layer and the output OCIO layer, please correct me if I'm wrong.. If I open a multi-layer EXR with multiple render passes, do I need to create an OCIO Adjustment layer for each pass layer or will one at the top be enough? Thanks for bearing with the 1000 questions here and I greatly appreciate any insight I can get on setting this all up correctly!
  4. Hi, Apologies if this has been covered elsewhere but am struggling to piece together a solution for my circumstances so any advice would be appreciated: I’m trying to move most of my editing workflow to my iPad (6th Gen). I haven’t used Affinity before (just PS Elements) but it seems like the best app for iOS. The difficulty I have is that I can’t store any of my images locally on the device (it’s a work iPad) so need a purely cloud based workflow. The images will be captured mainly on a Nikon D7000 and will be a mixture of JPEG and RAW (mainly JPEG). From what I’ve read, a mixture of Affinity for iPad and Dropbox seem to be the best solution for this, opening photos for editing rather than downloading them...is that right? Many thanks.
  5. Hi! I'm struggling to to do this – https://www.dropbox.com/s/npwdnrt7meqdax3/AFT_ScreenRecording - 20190702_1935.mov?dl=0 – in any of Affinity software. Am I missing something? Lack of a solid transform tool feels to me like a deal breaker. Best regards P.
  6. A couple days ago I asked about the value of pdfTool in a Quark forum. One comment was unexpected in that they pointed out that the tool is especially good for adding to a Publisher workflow in that it hasn't been around as long and may need a little more help than mature products like Quark and InDesign. That one perspective alone almost justified it's $500+ price tag. I wanted to know have other people found that those two products work really well together? Publisher is the only tool in the suite I haven't explored extremely in depth and I haven't even installed pdfToolbox yet. I like how Serif keeps the price low which allows for workflows like installing it on non-designers computers as I mentioned a couple days ago. Since the work in my company needs to pass by me the more expensive product (pdfToolbox) only needs to be installed on my machine. At first I didn't understand the very low pricing that Serif was doing but now it makes sense. I have even grown to like the name in that it may confuse some Microsoft Publisher users to accidentally start using Serif Publisher.
  7. Hey all, I wonder if there is a way to move content over different sites. I created a document with an overview about products. Each of this sections (groups) on the page contains text as well as two images. When a new product has to be added it should be on position 1. This means I ideally like to move all other products over all pages one step down and insert the new one on top of the document. Of course the movement has to be precise so that the relative positions of the products over all pages stays the same. A screenshot is attached, which hopefully helps to make clear what my goal is. Is there a way to realize it without the need to move each and every of the sections manually? Thanks!
  8. Hello everyone! I'm new to the Affinity scene and love it so far. I've been a Lightroom user for years and decided that it's time to put the presets and sliders aside for a while and really take control of my editing. Enter Affinity. The purpose of this thread is to discuss workflows used when editing multiple photos from a photoshoot. I can't seem to figure out a truly effective way to edit 50+ photos without creating a mess. Any pointers, videos, web articles, or books are welcome. Thank you all for the support and I look forward to reading your responses.
  9. As a landscape photographer I take a lot of exposure bracketed photographs. For a while I used to blend these exposures using HDR software, until I learned that there's a better way that produces a more natural-looking result and gives the photographer more control: manual exposure blending. Affinity Photo includes an awesome "Blend Ranges" feature that I use to accomplish this task. It takes a little practice, but this tool is more flexible than Photoshop's "Blend If" sliders (because it supports customizable and non-linear luminosity feathering), and more efficient than Luminosity masks (smaller file size). However, the process of actually setting up multiple exposures as layers ready to be blended in Affinity Photo is currently pretty manual and tedious. You have to open one or more of your files, and then drag the others in to create additional layers, or create a new stack and then cancel the stack to unstack the layers. I do this frequently enough that it's irritating that this isn't more efficient. Since switching to Affinity, I really miss the streamlined workflow from Adobe Lightroom, where I can select multiple images and choose "Open As Layers In Photoshop," which takes care of all of the setup for blending multiple exposures, with the added bonus of also not creating multiple intermediate PSD or TIFF files. Now, obviously Adobe has no incentive to support an "Open As Layers in Affinity Photo" option for Lightroom out of the box, but perhaps an enterprising developer could write such a plugin for Lightroom if only Affinity Photo would actually support the ability to open multiple files / data streams from a RAW processor as layers in a new file... In my dream workflow, it would be really neat if Affinity Photo integrated directly with Phase One's Capture One PRO, for a similar workflow to how Lightroom integrates with Photoshop. Perhaps Phase One would be receptive to such a collaboration... I suppose the gist of my feature request is that Affinity Photo is a fantastic program, but sorely lacking in some workflow/efficiency areas that matter quite a lot for people working with lots of images. Adobe, for all their faults, seem to have figured this out, and their ecosystem of products that work together is a great strength of their offering. In the absence of a similarly large suite of complementary apps, Affinity would do well to offer some basic hooks into Affinity Photo that developers can use to create a better round-trip experience when users are working with multiple apps in concert to catalogue and edit their photos.
  10. A very plain wish: When the focus is on the "Pages" panes ... it would feel natural to me to scroll through the pages with the cursor keys ... but by the looks of it there is absolutely no way to use keys to proceed to the next or previous page. Even enabling the "End" and "Pos1" key would be nice. Maybe this functionality could even be active if the the main window is active, you have the "Move" tool selected and there is no frame selected ?! Aside that I find it very hard to recognize what is the currently active page. This thin frame marking it is hardly visible - even harder, when the content of various pages is layoutwise pretty similar. So it always takes this extra-extra effort to find out on what page you are on in the page panel. Cheers, Timo
  11. Hey there, I am coming from softwaredev and really would love to see a fuzzy finder in Affinity where I can find all the tools by using just one single shortcut which opens the search bar. As a ref I just put in the fuzzy finder gif from GitKraken, also a very cool piece of software.
  12. I was having this discussion with Mike Wenzloff in a Quark forum yesterday which was a great help to where I may go with this workflow. I wanted to ask the same question here to see if there is any serious pitfall I am not seeing among other Affinity users. I work for a company that does a lot of basic layouts; brochures, badges, mailers. I would like to buy Publisher for their machines so that I could just send them a Publisher file in Dropbox and they could change any text right from the program. They currently do this with MS Office files so it seems like moving to this workflow with our advertising would make as much sense. I'm on Mac they are on Windows and some also use iPads if Publisher comes to iPad at some point. Is anyone else doing something similar to this? Having that low price opens up workflows that I haven't tried before. I am also planning on incorporating other tools like Slack and Dropbox in this workflow.
  13. Hi guys, I want to bring a really nice suggestion that can be really time saver while dealing with "switching things" or anything like that, we can bring the most favorite brushes/tools in our right click, like a radial or square menu, I think this gonna save a lot of time for us that work professionally, please just let me know if this can be possible to have on future versions coming soon I'm glad to know that I'm almost 100% working with Affinity Designer , I want to quit from adobe monopoly asap regards, Jhonatan
  14. I'm trying to speed up my workflow, I know in other applications you can copy/paste/sync adjustment settings in RAW to another image, is this possible in Affinity please and if so how/where do I find the option. Thanks in advance.
  15. Hey, I was wondering if anyone had figured out a way to use a mask, or a z-depth image to blur an image? In Photoshop you can use a black and white image to partially blur an image, to get a narrow depth-of-field effect: I've already tried to use a full-image blur with a mask, but that gives 80s-esque halo effects. The halo is there because the whole image (BG+dress) is blurred, while the dress should not be taken in to consideration for the BG-blur. It is quite noticable around the dress here: Anyone have a usable method for this effect in Affinity?
  16. Hi, I write few pages about L*a*b* worflow for trying promote this space about decoupling Color & Lightness in L*a*b* here Lab.pdf this macros is on 1.7 version , not compatible with 1.6 Lab.afmacros Just read this answer Nothing new reinvent the wheel... But perhaps, some one, may have better understanding of this color space and more easy color apprehension, more easy color manipulation Sorry for my bad english, not my maternel language Have fun
  17. Publisher beta V1.7.249, I have just re-set a 200 page illustrated book I did a few years ago using Indesign. Typesetting requirements were about as demanding as it gets and Publisher passed with flying colours. Just a few refinements and Publisher would become my default pre-press system… 1. Scroll bars: Both Publisher and Photo: Yes, keeping down visual clutter is so important but depending on the view often these bars are almost impossible to see, appearing almost the same color as the background. I find I have to stop work to go hunting for them. 2. Guide Manager: I don’t like filled in columns as guides because it changes how images display. Unfortunately, the option to display guide outlines only works for the current session, upon reboot tit defaults to the filled option. 3. Resource Manager: If I remove images from a document and linked folder Resource Manager thinks they’re still there. Every time I boot it tells me they’re missing and asks if I want to locate them. 4. Move Tool: Shortcut ‘V’ will not work if I want to switch from Frame Text Tool mode, I must manually select it…slowing workflow.
  18. I just want to share with you, that I have just launched an Affinity Photo Workflow Video Course. I have for a long time felt a lack of training videos, that tie the features of Affinity photo into one professional workflow. So, I have created a course, that: Allows you to begin to use Affinity Photo like a PRO with confidence. Explains a Start-to-Finish Affinity Photo workflow. Get to know all the post-processing steps: from opening a RAW file to publishing or printing the finished image. 140 minutes of video content, including explanations of key processing techniques and case videos. Includes 3 bonus workflow macros included. Specially designed for this video course. Gives you everything you need to establish your own non-destructive workflow using Affinity Photo. There is already a lot of great videos about how to use Affinity Photo, however with this new course, I think that many photographers can improve their understanding of Affinity Photo and establish their own editing workflow. By the way, as a thank you to Serif for giving photographers a great product, all interested users in this forum can use the coupon: forum.affinity.serif at check out get an extra 15% discount on the video course. I hope you welcome it into the growing pile of professional training material for Affinity Photo. Cheers, Peter Dam
  19. Greetings, Affinity Photo is now my main photo editing software. I also like to use ON1 Photo RAW 2017 for some features, especially the PHOTO FILE MANAGEMENT system. ( or Digital Asset Management ) Whenever I tell ON1 Photo RAW 2017 to edit the image in affinity photo, it opens the image in affinity photo brilliantly. However, I am having trouble understanding what happens when I exit Affinity Photo to go back to ON1 Photo RAW 2017. How can I keep the original and the edited file on the same folder in a way that makes sense? Since ON1 Photo RAW 2017 doesn't recognize .afphoto format, it won't display it in the ON1 Photo RAW 2017 file browser/organizer. Is anyone here using this same combination? What is your workflow like when working from one of these apps to the other? Especially when keeping everything non-destructive. Cheers! William
  20. Hello how do I set up an extension so th I can open Affinity directly from Apple Photos on my iPad, make edits, and save right back to my Apple Photo Library? For example, PS express and other apps work seamlessly like this. Thanks. Dan
  21. Well ! The title says it all, Affinity Publisher is missing/lacking of the essential Export Persona. On a workflow like mine where i use Affinity Photo to process everything pixel, Designer to Process everything Vector and make them all converge to Affinity Publisher for project finalization. So, 80% of my exports happens there because Affinity Publisher does it better when it have to print stuffs ! Please bring a shiny but powerful export persona to Publisher.
  22. Yesterday I tried to make some ajustments using affinity but unfortunately I wasn't able to get it right. There are two missing features. There isn't something like an eyedropper for selecting the color. Sometimes PS considers something as yellow when it looks green for instance. But much more importantly, there isn't any way to change the range of the color it's trying to affect. This is crucial for a lot of HSL ajustments. A lot of apps do offer the ability to adjust the HSL range. Now you can adjust only parts of an autumn leave for instance, the red channel doesn't cover everything and the yellow channel covers other things too so it's just not possible. Maybe you can work around this issue by using something like color range, but that limits your options to only one color and it's more work and less flexible. Please refer to the attached screenshot to see what I mean.
  23. I struggle to create gradient fills easily and efficiently. Here are the two methods that I use, and perhaps the only way. I'd be curious if someone out there has another method. Method one: Create object select "G" on the keyboard draw gradient Select the Gradient color box at the top toolbar make active a node on the gradient line select color from colour box Repeat steps 6 -7 for each node in the gradient line. Method two: Create object select "G" on the keyboard draw gradient Select the node in gradient bar Select Swatches tab in the docker on the right Select color in the Swatches pallet. Repeat steps 5 -6 for each node in the gradient line. Suggested Improvements: A) What I would like to see is the ability to double click on the color node on the object itself, not the node from the methods above, and by double click the node a swatches pallet opens for you to make your color selection. B) Another option would be to select color node, select the eyedropper in the tool bar and while holding the Shift key down select the color you want applied to that node. This method is great for sampling color from other drawings or reference images. I appoligize if there is another method alreay in place, I just haven't come across it yet. Thanks in advance. -Bill
  24. more specific context menu entries for each tools and an option to customize the context menu in settings.
  25. Hello, during the last couple of days I spent a lot of time with Designer. I watched most of the official tutorials and read the relevant parts of the documentation. So far, I love AD, but the following behavior drives me nuts and renders AD almost unusable for me. I am trying to draw a brushed illustration using a Wacom. I have hundreds of strokes and want to clean them up: sort them into groups assign different stroke widths etc. However the selection process seems to be almost impossible hard. Please consider the following quick screen-capture: <iframe width="560" height="315" src="https://www.youtube.com/embed/_DsJZdXqWzY" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe> ( https://youtu.be/_DsJZdXqWzY ) It shows the following problems: Frequently, I'm am accidentally creating copies by dragging with ALT or CMD Pressing CMD-Z once will only undo the offset but not the duplication which leads to two identical copies of the strokes precisely on top of each other (it took me hours to actually notice this behavior and now I'm always using slightly transparent stroke colors) Trying to select a stroke by clicking with CMD+SHIFT is totally random. Sometimes I'm lucky but it feels like most of the time a random neighbor stroke is being selected. (SketchApp always shows the inner bezier-line as hover before clicking which makes it possible to quickly select the right element without trail and error) Trying to select several elements with marquise-selection frequently does more damage than help, because I just create more accidental drag-copies. Drag zooming with SPACE+CMD+Drag is super fast. But if I accidentally press CMD+SPACE+Drag (pressing in the wrong order) -> Yay, I just created another invisible copy and have to Press undo twice. I can't figure out the "Edit all Layers"-toggle. It should lock me into focusing on a single layout (without accidentally switching when CMD+selecting or dragging). But it doesn't seem to make any difference. The Isolate Layer-Mode (ALT+Clicking on a thumbnail) would be super useful, but sadly it is abandoned as soon as you want to select several elements. I have a hard time figuring out the precise working of the layer-player (Group vs. Layer vs. Component). Sometimes it seems to have an impact on the selection (esp if the toggles of "layer-items" are highlighted with a circle). The CTRL+CMD+Click context-selection frequently only lists a single "Curve >" icon, that can't be selected. I guess I must be using it wrong so I'm looking for advice from advanced users. How are you doing this kind of basic selection work? As mentioned above, I frequently work with Sketch, and selecting stuff seems to be million times more efficient and logical there. Thanks for your help. Any tips or pointers are very welcome. Tom EDIT: I finally figured out, that the "Edit All Layers" toggle is to be taken literally: After promoting many of by Groups into proper Layers, this already helps quite a bit. affinity-designer-problems-01-selection.mov
×

Important Information

These are the Terms of Use you will be asked to agree to if you join the forum. | Privacy Policy | Guidelines | We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.