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Found 26 results

  1. Hi, when using a RGB document and then a curves layer with LAB color space, affinity becomes totally slow. I added a DOF filter like James Ritson in his 1.9 Youtube today, when you mode the center it takes about 1 second to update. rainbow lab curves slow.afphoto
  2. Hello, I have just recently started getting into Affinity, and so far I'm really enjoying it! Today I wanted to try something a friend told me he does in Photoshop, but it appears (to me) to be buggy in Affinity. I have an image in Lab color mode. Create a curves adjustment layer (it shows as default the Lab "Master" channel). Switch to AOpponent channel in the curves dropdown. Click "Picker," pick a spot in the image, and drag slightly up/down to create a curve node. What I would expect here is a node on the curve corresponding to where that pixel lies on the A channel's axis.. but instead I seemingly get a node corresponding to where it is on the L axis. In other words.. If I pick a bright white cloud, I get a node way far to the right.. even though I've selected the A channel, not the L channel. And if I pick a dark pixel, no matter the color, I get a node way far to the left. If I pick a midtone pixel, I get a node near the middle. For fun, I converted my image to RGB mode and tried it with curves in RGB channels, and had the same result -- the picker picked seemingly based on pixel brightness, not channel value. I hope this makes sense. Perhaps I'm missing something and this is not a bug. :-) Thanks for reading.
  3. Hello, I think this is a bug but not 100% sure. In a nutshell, using the picker to create a curves node in a specific color channel (within the curves tool) does not place the node according to the color, but rather according to the overall luminosity. I'm using Affinity Photo 1.8.5.703 on Windows 10. I first noticed it with a photo I was editing in Lab Color mode, but I can repro with a fresh document with a simple color gradient. I've also reproduced it in RGB mode, but let me outline the steps in Lab mode: Create a new document. Convert to LAB Color mode. (I'm not sure if this matters.) Add a pixel layer, and fill it with a linear gradient going from {L=0 A=-128 B=127} on the left, to {L=100 A=127 B=-127} on the right (note the negative symbols). Add a Curves adjustment layer, and choose LAB from the first curves dropdown. Choose AOpponent from the second curves dropdown, and click Picker. Now, notice from my screenshots that if you use the Picker and drag from a point on the far right of the image, it adds a node to the curve. Note the LAB values of that pixel from the Info panel, and see that the A and B are complete opposites of each other. However, if you then do the same thing with the BOpponent selected, it adds the node to the same point in the curve. What I would expect here is that the node is added far to the right in the BOpponent curve, when the B is high for that pixel (and to the left when low).... and similarly for A. However, what appears to be happening is that it places the node based on the brightness (maybe the L value?) of the pixel, no matter what channel is selected in that second dropdown. I have attached my file so you can try yourself. Please let me know if I'm doing something wrong, or... if it's a bug, that would be great to know too! Thank you! :-) curvesGradientTest.afphoto
  4. Is there any plans to add CIE-LAB gradients for affinity? I've been playing around with them in Python and LAB-interpolated gradients look a lot better than RGB-interpolated gradients, especially for backgrounds and things like that. I looked through the SVG standard and SVG supports CIELAB interpolation, along with a few others. So is there any plans to add alternate gradient interpolations to Affinity designer? Or even a full LAB color space, like in Affinity Photo or photoshop? I added a photo for anyone that's interested (CIELAB on the left)
  5. Please fix the components display in the adjustment "Curve" for the LAB model. The A and B components should go positive and go negative and the zero line should be halfway up the display pane and not at the bottom. In the case of A, orange colors would be above the line and cyan below. (The whole thing should look similar to the graphical display of an audio track.) Of course, the L display, showing positive only numbers, should stay as it is.
  6. What I want to do is apply an unsharp mask in Lab mode on only a and b channels, is this possible? In photoshop (desktop) I would convert to Lab, select the a and b channels, apply an unsharp mask with a large radius (say 80px) then convert back to RGB edit: figured it out finally, tap document icon with three dots then convert document, then it shows up at the bottom
  7. Hi, I'm not sure if it's a bug in Affinity Photo or some problem with brushes. If I make a new document in LAB/16 then more sophisticated brushes (for example Paolo's DAUB PaintBox sets) get cyan overcast that is visible in a studio toolbox and on a canvas. See the attached picture. I'm using iPad Pro 11", 13.3.
  8. Hi, I start with with the procedural texture ( Filters> Colours> Procedural texture) It 's in Lab mode , ( I wanted see LCH if s the easiest way to " move" w color ), Before, I made an simple test. in 1.8 beta, play with channel save as a preset, close the file An reload with another test file BUT By default we have RVB option, sometimes very difficult to reload it , and impossible with live filter option I can export the preset, but I want re import, photo (beta and release) say me Sometimes I have difficulties for found Lab option, perhaps by bad understanding of the structure Preset manager can you say me labcolor1.aftoolpresets
  9. In the Channel Mixer, you can select a single channel by choosing a colour model and zeroing the unwanted channels. eg. for red channel, use RGB model, select to Greens and zero Green, then select Blues and zero Blue. I can do this for RGB and CMYK. But in LAB, if I zero AOpponent and BOpponent I'm getting a blue/cyan result. What am I doing wrong? Should it not be b/w? ps. I can separate channels by changing document colour model and clearing in the Channels panel, but I'd just like to be able to do it in Channel Mixer.
  10. 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
  11. when developing HDR images there is the danger that with RGB color mode you get color faults, because RGB represents color and luminance in the same value. If Affinity Photo would enable a LAB 32 bit HDR color mode that would solve the problem. Because color and luminance are now separated, the large dynamic range of HDR images are mainly reflected in luminance. This prevents color faults during HDR generation. By the way, I like the way Affinity Photo is adressing HDR development in the workflow. However, because I quite regularly get color faults during development, I can not use it in many situations (see attached image as an example for such a color fault in the sky). In this case I use my LAB 32 bit based HDR development programm (Oloneo), which produces nicer color without color faults.
  12. I don't know if this has been suggested but I use curves a fair bit and particularly LAB for those really powerful wide gamut adjustments. The current graph only has a four by four grid which isn't anywhere near enough to lock in really fine changes. It would be really handy if it were possible to size these graphs too. It's something I'm used to in other software so I was expecting to see it here and (I assume) that changing the reticule is a five minute job for an intern. Resizing is a different matter because that carries other problems … but pretty, please with knobs and bells on (and a cherry on top)?
  13. I would be nice to have lab colours in the colour chooser as per attached. Kind Regards
  14. shojtsy

    LAB macros

    Hi, Here is a library of macros of various LAB operations. It can do - Selective desaturation of LAB channels - Separate LAB channels to greyscale layers without switching to LAB mode - Join back LAB greyscale layers to a composite image without switching to LAB mode - LAB color contrast boost Enjoy! As for the file size being 4MB for a few macros, I have no idea, it is probably a bug. SH LAB tools.afmacros
  15. Hi, When using Curves Adjustment layer and selecting LAB color space for the curves adjustment for an image in RGB space, the histogram shown behind the curve is incorrect. It still shows the RGB channel histograms behind, such that Lightness curve has the Red channel histogram, AOpponent has the Green channel histogram, and BOpponent has the Blue channel histogram. This is very misleading and even worse than not having a histogram. The same happens for CMYK curves.
  16. Calculation of the following blend modes is broken when LAB/16 color space is used in AF 1.6.1.93: -Colour Dodge -Difference -Exclusion -Subtract -Average -Negation -Reflect -Glow -Hard Mix Other blend modes work correctly, so I don't assume it would be any problem with using LAB and blend modes. All of these except Hard Mix behave as if Normal mode would be used. Hard Mix in LAB produces some extreme Red coloration even with grayscale inputs. Reflect blend mode broken in LAB.afphoto
  17. In Blend Options for an image in RGB, I can only choose Master, Red, Green and Blue to control blending. However in Curves I can work with LAB channels even if the main colorspace is not LAB. It would be very good to be able to choose LAB channels in Blend Options the same way. Color channels of LAB are fantastic to isolate an effect or adjustment to certain objects / areas of the image in a dynamic non-destructive way that masks can't reproduce.
  18. So, I recently started working in LAB space. My question is, if I am working in an individual channel say Lightness(only channel editable), how do I ensure that all filters and adjustments are applied before jumping to RGB? Because, on changing to RGB it highlights R channel only , so I am not sure how to preserve my LAB work..
  19. Dan Margulis says that HSL adjustments are much easier to do LAB color. You already let us do Curves in LAB color space. How about HSL? Thanks!
  20. Hi. Are AOpponent and BOpponent intentionally named this way? Regards.
  21. what are the limitations with using LAB colors in AP and printing? thank you ! what is the correct LAB WORFLOW FOR PRINTING ?
  22. I miss the ability to numerically edit the coordinates of control points on curves (adjustment layers). In PS, the input/output values of a control point are displayed and can be entered numerically, or - even better - precisely adjusted with the scroll wheel. Especially when working in LAB for detailed color correction, this precision is a must, as manipulations of the a/b-curves allow for great control of subtle color shifts but also wreck havoc on a picture if only slightly misadjusted.
  23. The preference panel of Affinity Designer shows only "D50" as an option for Lab colors. But comparing the sRGB comparison values to other tools (chromatist.js and Color Machine for Mac) the values I got are more comparable to the ones of a "D65" color profile (not exactly though). Hex: #0b798f LAB from Affinity (D50): 46, -23, -20 LAB from Chomatist (D65): 47,-20,-20 LAB from Chomatist (D50): 47,-21,-32 Hex: #872157 LAB from Affinity (D50): 32, 47, -6 LAB from Chomatist (D65): 32, 47, -7 LAB from Chomatist (D50): 32, 46, -16 Maybe someone can clarify this and/or figure out whether this is just an issue in Affinity. Thanks!
  24. Hi, there's a Plugin for PS (Windows only) called Curvemeister which allows to Curve in different colorspaces. E.g. the document is RGB, the Curves dialog shows the usual RGB Composite + R, G, B channels and L, a, b, and C, M, Y, K (which channels are calculated on the fly). In PrePress it's quite usual to switch carelessly from one colorspace to another to exploit each colorspace peculiar features. The multi-colorspace Curving could be implemented, say, only when the document is converted to Lab (so that you're already in a device-independend space, which saves you a conversion). Thank you, Davide Barranca
  25. Words can not describe how happy I'm with how masks work in Affinity
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