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Found 4 results

  1. I appreciate that Affinity has implemented this very useful tool in Affinity Photo. I would like to suggest to improvements which I think would make this tool much more useful: 1) Make the vectorscope react to sections. When nothing is selected it should be as it is now but as soon as a selection happen it should show only the color information of the selected portion. Sometimes it is hard to tell which part of the images falls in which part of the scope. In particular it is important to know whether skin tones are accurate, this feature would allow us to make a quick selection to find out. 2) Let us increase the gain beyond 500%. 500% is just not enough, a lot of times only a very small region in the center of the scope is occupied even tough the saturation is not too low to the eye.
  2. Hi- I'm a cinematographer and I just bought Affinity based on the fact that it offers video-style waveform and vector scopes. That's huge for me as I often shoot stills as proof-of-concepts for commercial shoots and I need to quickly manipulate them to show to a client and director, and no other stills program (or at least none that I'm aware of) has exposure controls that allow me to evaluate and correct exposure and color so easily and consistently across photos. But: The vectorscope layout is whacked. Red should be at the top around 11:30. Blue should be roughly at 3:00. Green should be around 7:00. There should be a line (the "I" line) that falls between red and yellow and makes for a perfect flesh tone target. Default gain should be 2x (or 200%). I've attached an image showing what a proper vectorscope should look like. I consult and teach training courses for DSC Labs, who make the Chroma Du Monde HD test charts, so I've done a lot of work with waveform/vectorscopes both as a cinematographer and as a tech guru. Feel free to get in touch if I can help out in correcting this. Thanks.
  3. Hi- I just realized that the gain control under the scopes menu does not function the way a video person would expect gain to function. "Gain" means amplify or magnify the displayed signal, not increase graticule brightness. For example, it's common for those of us in the video world to look at a vectorscope in 2x gain mode, which zooms into the scope by 100%. This is due to the fact that real world hues are rarely saturated enough to fill the scope. Also, the most commonly used test charts in video, the DSC Labs Chroma Du Monde series, are printed at 50% saturation due to limitations in ink saturation technology so a vectorscope must be set at 2x gain to interpret those charts correctly. Your "gain" control is really a "graticule brightness" control. A true gain control would be useful, but that's not what you have here. I hope you keep heading forward with this. I do a lot of analysis of stills pulled from HD and digital cinema raw files in Photoshop and Lightroom, and I'd rather use a stills app with a set of real scopes to do this. Let me know if I can be of further assistance. I consult and teach for DSC Labs so I know waveforms/vectorscopes quite well, plus I helped design a product (Video Devices Pix-E monitor series) that incorporates scopes. Thanks.
  4. The vectorscope is mapped incorrect. Functionally it works but the mapping of colors is wrong. It is minor but frustrating since you cant gauge the colors at a glance since it is different from every other piece of software that has a vectoscope that uses the industry standard. A skin line at 123deg would also be very much appreciated. This is how it should be mapped:
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