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Found 4 results

  1. 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
  2. Hi everyone, I was wondering if Affinity Photo was capable of handling OCIO context variables? It's quite common in the film industry to define context-driven colorspace(s) in the OCIO configuration. Either by having a variable part in the search path, or directly in the name of a LUT/CDL file. Theses variables can be then set to different values at runtime and force updating the resources loaded by OCIO processor(s). An example of this being implemented at the user-level is Nuke OCIODisplay and OCIOColorspace nodes that expose a "Context tab" where you can define key-values where the key is the name of variable and value the literal value (e.g. SHOT sc010_0010). This is a quite essential feature for TV shows, feature film etc... I'm happy to elaborate more if needed be. Best, Nicolas.
  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
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