Jump to content

Search the Community

Showing results for tags 'aces'.



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 & Feedback
  • 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
    • (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 4 results

  1. Hi, I noticed a strange behavior with the release version of Affinity 1.7 that I don't recall with the last Beta versions (that I already deleted) and for sure not with the version 1.6.x. I use the Serif RAW converter to convert canon raw photo files to 32-bit linear files. When the prefs are set to 32-Bit sRGB linear, then after the raw conversion I convert the format to ACEScg. When the prefs are set to 32-Bit ACEScg, then I don't need to do anything else after the raw conversion. In both cases I export EXR (half-float files) without the check box "Color profile from name". When I loaded both files in Nuke (from Foundry in an ACES environment with each the right colorspace settings) they were looking (nearly) identical. And this made sense to me. I checked with older files EXR files (that were converted with an older version of Affinity Photo) and the two exports are visually identical. There are very small differences in the colors, this might be rounding errors. The linear sRGB file is actually ever so slightly warmer then the ACEScg file. When I do this now with the new release of Affinity Photo, the ACEScg converted file got much warmer. The two attached images (IMG_7330) were converted with version 1.7 : Prefs 32-Bit sRGB linear, Serif Engine (no tone curve), the lin sRGB was then directly exported as EXR, the ACEScg was converted with Document/Convert Format/ICC Profile to ACEScg and then exported as EXR. Both files were exported with Nuke to JPG (with the same display viewer curve RRT&ODT) The older files (IMG_8454) were converted with an older version of Affinity Photo (April 2017) I can provide the .CR2 files if necessary. Can someone explain why this happens? Best regards Daniel
  2. Dear Serif Team and Affinity Photo users, I'm a VFX Compositor & Matte Painter and I'd like to move from PS to AP. I hope you can help me with some questions regarding the Implementation and proper use of ACES and 32-bit. My background plate is exported from Nuke as an ACES - ACES2065-1 16-bit EXR file. The import into AP (1.6.4.104) works fine - the file get's recognized as an ACES file and I get the same result using OCIO. But there are a few things I can't get my head around yet: How do I pick and paint high color values? Using the exposure slider in the 32-bit Preview I see that there are high values. If I pick and paint them back in, the result is way darker. (Changing the exposure doesn't effect the false picked color) picked in Nuke for comparison I moved from PS because there is a 16Bit limitation and I had to work with ACEScc files (log encoded) and use an ICC profile to check my work. I hoped to get around this using AP. Those threads are dealing with the same issue but the information is contradictory and I can't reproduce the method quoted first. https://forum.affinity.serif.com/index.php?/topic/49815-hdr-raw-pixel-values/ https://forum.affinity.serif.com/index.php?/topic/19787--/ What is the proper workflow of importing and edit JPGs in an ACES setup in AP? Unfortunately there's no way of assigning an IDT during import (as in Nuke) but I can reproduce Nukes behavior with OCIO Adjustment Layers, which seams pretty inconvenient. (Windows Photo Viewer as comparison) Bottom left: Two OCIO nodes in sequence [ACES2056-1 to Utility - Curve - sRGB] followed by [Output - sRGB to ACEScg]. Bottom right: Two OCIO nodes in sequence [ACES2056-1 to Utility - Curve - sRGB] followed by [Utility - sRGB - Texture to ACEScg]. This post deals with the question of the right IDT for JPGs in general. I guess going the Utility - sRGB - Texture way is better, isn't it? My color settings: If you need further information or I haven't made my questions clear enough please don't hesitate to ask. I'm glad about any help or further learning resources! Thanks a lot
  3. It's reasonably simple to switch configs in Affinity but it still involves closing everything and restarting the app. You can't have two documents open that need different configs. It'd be great to do the setup of a few configs once and only require a restart when you change that setup. That way we could have open a few documents that are in difference OCIO colour spaces. I often have to switch between nuke-default and ACES nowadays. Being able to set and save (in Affinity format) what config a document used would be great and only like two or three lines of extra meta data. It would also make it easier to work in larger teams and bring work from multiple sources together. Then having an OCIOconfig node/layer which could be used to transform work from one base config to another would be really sweet. Being able to toggle through configs would also be great for last minute jobs where everybody just assumes you know their workflow and eff-off right after emailing you the logins.
  4. Hi Affinity team I have two small feature requests that will make Affinity Photo and Designer fit really good into VFX, movie and TVC production. 1. My primary request is import and export in the Open EXR file format. Some of the key features of Open EXR is: High Dynamic range, up to 32 bit float. Multiple channel sets (layers / passes). Multiple compression types, both lossless and lossy. Open EXR is used all around in VFX, movie and TVC production. It is supported by, and the preferred image file format of many tools in VFX production (nuke, maya, modo, mari, fusion, scratch, daVinci resolve, etc. and even AE, but it's really bad implemented in PS). 2. The second request is support for motion picture and TV color spaces. Being able to handle Rec709, cineon (LOG), P3, Rec2020, ACES, etc. correctly in Affinity Photo and Designer would be a huge plus. I'm not a developer, but I think it could be done through the OpenColorIO color management solution, which is also widely adopted by VFX production tools. A still image editor is not the primary tool in the VFX, movie and TVC world. But it is always there as a secondary tool for doing quick fixes, converting images and vector files, developing raw files, etc. These requests I mention are weak points/not supported at all with most other image editors, and I think if Affinity Photo and Designer get's it right, it could be a huge plus, and with the very reasonable price tag I can't see reasons to not choose Affinity Photo and Designer. Cheers /johs
×