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  1. JR Workflow Bundle: Shortcuts, Macros, HDR Tools & Brushes Hey all, I'm very happy to be posting this collection of tools that I hope will benefit your workflows in Affinity Photo! This toolset contains custom shortcuts, macros and brushes that are designed to enhance and speed up a variety of different workflows, from typical image editing to more complex masking scenarios, archviz scene creation, HDR image mastering/tone mapping and more. The bundle includes each resource in a separate folder and can be downloaded here: https://affin.co/workflow Here is a quick overview of what this pack features: JR Shortcuts Introduces a number of custom keyboard shortcuts designed to speed up image editing workflows, including: Layer manipulation: showing, hiding, rasterising, mask creation, fill layer creation, flipping and flopping, rotating. Layer stack manipulation: moving layers inside/outside of other layers, insertion inside for next added layer (great for clipping adjustment layers/live filter layers). Matting, filling with primary/secondary colours. Flattening the document, placing embedded documents/images. Quickly creating specific adjustment layers and live filter layers including Live Perspective on Ctrl+T. Pixel selections: selecting partially transparent, sampled colours, saving to spare channels. Rotating the canvas in 15 degree increments, resetting the rotation. Toggling various functionality panels e.g. Macro/Library panels, 32-bit Preview panel, Scope panel, Assets panel. Setting fill to 50% grey, resetting fill to black & white. JR Macros Provides a set of macros to speed up common operations that power users might use. These macros make extensive use of the Procedural Texture and Custom Blur filters as well as channel and masking manipulation to simplify what would otherwise be time-consuming actions. The available macros include: Compositing enhancements: shadow/reflection creation, quick tonal matching, easy layer merging and grouping. Automatic mask creation from layer content with adjustable black and white thresholds to tailor the strength of the mask. Useful for Z depth passes (3D renders) and depth maps (dual camera smartphone images). Fast alpha matte creation from white, green, blue and red backgrounds. Great for cutting out stock imagery non-destructively. Mask creation macros: create mask layers from tonal ranges, alpha ranges and colour ranges. Smoothing: Subtle Gaussian smoothing, both cumulative and luminosity-based, to reduce over- sharpening on stock imagery and out-of-camera JPEGs. Various filter masks: create edge detail masks from laplacian, laplacian of gaussian, directional, sobel and prewitt filters, as well as luminosity and LAB lightness selections. Selective sharpening, local contrast, high pass and clarity filters: quickly set up inverted live filters which you can paint onto to reveal their effect. Retouching Setup: set up frequency separation with multiple high pass layers and additional non- destructive retouching options (vibrance, tonal crunch etc). Channels to layers: convert channels to greyscale layers, mask layers and colour data layers. Channel isolation: quickly isolate red, green and blue channel data onto separate pixel layers. Curves with blend modes: quickly add an entire group full of Curves adjustments that use every blend mode available, allowing you to easily experiment with each option. Rasterise and Inpaint Alpha: quickly trims the canvas bounds, creates and grows a selection based on antialiased transparent areas, then inpaints. Great for when you want to quickly fill in alpha areas created by rotating an image (e.g. when you correct the horizon level). Red/Blue Channel Swap: performs a channel swap with additional user options for infrared imagery. 360 seam-aware retouching: HDR to SDR tone mapping, Clarity and Local Contrast. Tonal Painting layer setups: like dodging & burning but non- destructive with more flexibility. Architecture tools including line drawing retouching, 1-bit greyscale setup. Retouching tools including multiple high pass frequency separation and revealing dust spots/imperfections so you can remove them. Astrophotography retouching: detail extraction for deep sky imagery and general enhancement for wide field imagery. Filter Effects (part of JR Macros) Provides a set of macros for creative and functional filter effects. These include: Tonal compression for recovering contrasty images or expanding dynamic range. Technicolor (2-strip, 3-strip) and Infrared emulation
 Infrared channel swapping for actual infrared imagery with various controls to help produce punchy and vibrant results.
 Textured Mist/Cloud effects: combine with masking to add cloud texture to a sky, or give the impression of fog or haze on a landscape.
 Live Solarise: create a non-destructive solarise effect, control its angle and intensity, then use blending options to change the tones in your image.
 Halftone Effects including diagonal lines and continuous dots.
 Light Leaks with controllable positioning on canvas.
 Dissolve noise and diffuse effects to emulate a Dissolve blend mode. Shadow boost filter for softer, more natural shadow detail enhancement. Warm and Cool Tone filters as an alternative to the White Balance adjustment. Workflow Brushes Provides two new brush categories, Masking and Shadows, designed for quick access to suitable brushes for composite and architectural visualisation work. Masking brushes: Soft round brushes at preset sizes (64px, 256px, 1024px) with tight spacing and full flow. Ideal for consistent brush strokes which are required when painting on and off mask layers. Soft and hard edge variants provided. Textural brushes with dynamics to randomise X/Y spacing and rotation. Great for more realistic blending with cut out layers. Shadow brushes: Oval shaped brushes at preset sizes (64px, 128px). Saves having to create custom brushes with modified shape and rotation. Square shadow brushes for diagram and plan work. HDR Authoring (part of JR Macros) Macros to help author HDR (High Dynamic Range) content and tone map it to SDR (Standard Dynamic Range). The tone mapping to SDR and nonlinear to linear transform macros can be used with SDR displays—the other macros however are intended for use with HDR or EDR displays where the extended brightness values can be displayed. The macros include: Tone Map to SDR: performs tone mapping to SDR, providing user options like separate shadow/highlight mapping, brightness/contrast control and local contrast enhancement. Clamp Max HDR Brightness: restricts the headroom (dynamic range) of the HDR document and clamps it to a specified brightness value. Clamp Max HDR Brightness RGB Mix: as above, but with individual control over how the RGB colour channels are clamped. Filter Only HDR Values: filters through only values above SDR, which is useful for visualising the HDR values in a document. HDR Colour Map: visualises the HDR colour contribution and colour crossover with the ability to modify the threshold for the RGB channels separately. Nonlinear to Linear Transform Correction: Affinity Photo will typically use a non-linear view transform even when in a 32-bit linear colour space—this is so the user can see how the image or document will look when exported to a non-linear format like JPEG/TIFF/PNG etc. However, 3D artists will usually want to have a ‘linear’ look to their render so it looks consistent with what they were working on in their 3D software. Simply run this macro to add a Procedural Texture live filter that performs a gamma transform to achieve this. You can then export your renders to TIFF/JPEG etc and have them look correct. Linear to Nonlinear Transform Correction: included as a reversal to the Nonlinear to Linear transform above, applies a non-destructive non-linear gamma transform. ---- I hope you find the above useful, and in case you missed it, here's the download link again! https://affin.co/workflow Any feedback and/or suggestions are always appreciated.
  2. In the docs for the procedural texture filter there are lines like this: mapcui(T v, T edge0, T edge1) perlin(S x, I octaves, S persistence) What do the S and T and V's mean. I'm guessing V is for vector. What are the others?
  3. I think it would be nice to be able to store distort equations in a similar way to the procedural texture equations preset panel. At the moment it seems the only way to store distort equations is to either jot them down in another app somehwere, or store them in a macro. When you store them in a macro you lose the equation, so you can't go back to it, which is kind of annoying. I've currently got my equations building up a text document, but working like that doesn't fit the nice workflow that the other features have. Also, with the procedural textures panel if you accidentally apply before storing the preset you lose the equation, would it be possible to have a persistent edit buffer that populates the dialogue with the last equation you used, rather than it opening with a blank panel each time? It's really easy to spent time messing about to get an interesting pattern and then pressing apply to see the pattern properly (with the anti-aliasing in place), before saving it as a preset ... then it's gone, you've lost all that effort!
  4. Procedural workflow has and is growing and becoming a large driving force in content creation. Something I always knew would be make things very quick to iterate or change, and also keep things consistent and simple, would be referenced colors. So maybe your documents has a palette with named slots, and when you go to select a fill/stroke color, you can optionally select one of these named slots. Other fills or strokes can reference this same slot. Then if you decide you want to change colors later, you simple adjust this palette and every object using those slots gets updated. To extend this concept, it could almost be like symbols but for object appearance where you can have synchronized styles, that way all the parameters are shared, like stroke width, profile, etc.
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