Thanks Trent. Very interesting. I know I’ve had occurrences where “weird” things happened. This may have been the issue. I am impressed with your drive to dig in and test.
Your explanation is very relevant for website product photography against a white background. Your explanation explains the smudgeness of product photo’s, but does not give a solution. Thanks for making this effect understandable.
Hi @CarolusChess, thanks for watching! If you are referring to the white background bleeding into your selection, one option you can try is color decontamination. I give an overview of that process in the video here: th-cam.com/video/A2vngHe7hr0/w-d-xo.html Another option would be to alpha lock your brush, and then paint over the edges of your cutout with the color you desire. Hope this helps!
I have some comments - 1) I learned about the 50% transparency moving ants thing from Dave Straker years ago (his InAffinity channel on youtube). He hasn't posted in almost a year and he use to post all the time. I'm afraid something happened to him. Your style of teaching is very similar to Daves. 2) I wish you were on a MAC so you could compare Affinity products to pixelmator pro, which was recently acquired by Apple. IMHO Affinity is more feature laden, but pixelmator pro has better selection as they have had AI for some time now 3) The latest version of Final Cut Pro (Apple App for video editing, by the way, pixelmator pro does some video editing as well), has a new mask feature that actually tracks moving "objects" based on user selection, but they don't really have a refine feature. It is trial and error to fix the mask, but I believe they do have a tolerance type knob.
Hi Pedro! Yes, the InAffinity channel is great and I hope he makes more videos in he future. I didn't know he also covered this topic. I actually accidentally discovered this "50% transparency" fact only a few months ago when searching the Affinity docs for something else. Like some of the other commenters here, I had always noticed "odd" things with selections, and this fact finally explained it. Thanks for the suggestion about Pixelmator Pro. I have a MacBook from 2015 that still runs relatively well, so perhaps I will take a look and try to make some videos on that in the future. - Trent
@@TechnicallyTrent I use to have Dave's personal email but can't find it. I feel something happened to him because he always posted a few times a week. He had developed macros to do what the HSL wheel does now, after I had discussed with him the need for that wheel for selections, then Affinity added it. New Mac minis are relatively cheap now and I am totally Apple, after being Windows for years. I started working with Unix in 1975 and for me Apple is just a perfect implementation as Windows never worked well. Go for it.
Hi @el0senor0wino0, Sure, I can add that topic to my list. Can you expand on what you mean? If you add an HSL adjustment layer, you have the option of reducing the oversaturation.
@TechnicallyTrent Create or start with an oversaturated layer. 1. Duplicate the oversaturated pixel layer. 2. Add invert adjustment layer to the duplicate. Set invert adjustment layer to 50% opacity and set the blend mode of the invert to luminosity. 3. Group (ctrl+g) the duplicate pixel layer and its invert adjustment layer. Set the blend mode of the group to saturation. 4. Finished! The group should target only the oversaturated colors of the original image. You can probably check with a before and after comparison of the starting pixel layer. It's sort of an automatic thing. A video on using the curves adjustment to make colors pop using LAB colors would be neat. Like adjusting the appoint and the bpoint could be neat. Or make a video making a composite of a spooky photo. Use adjustment layers to "control" the lighting of the image using light sources, blurs, fx layers, etc. That may take a while, but it can be fun.
I am puzzled by the reaction when clipping one pixel layer to another, as opposed to creating a mask on a layer. The results are very different. Masking is straightforward to me. Clipping pixel layer to layer is not. For instance, regardless of the hue, a brush stroke acts as a hard inverse mask. I’m trying to wrap my head around this. I cannot think of a use case where this would be valuable as opposed to the controls a mask can offer. Maybe a use case would be using a silhouette to show through the parent layer, like the shape of a bird, etc.
I never knew that selections behaved like that. I need to watch this video to understand this better. Very interesting video, thanks.
i'd never considered this before. great explanation, thank you!
Great explanation of how transparency boundaries work!
Another fascinating video Trent.
I learn something new every day.
Thanks Trent. Very interesting. I know I’ve had occurrences where “weird” things happened. This may have been the issue.
I am impressed with your drive to dig in and test.
I experienced "weirdness" according to my assumptions about selections, esp using refine. Now I know why. Thankyou!
Thank You!
Thanks Trent!
...sehr gut!
Como dije, el mejor canal para adquirir conocimientos con fundamentos. Muchas gracias!
Your explanation is very relevant for website product photography against a white background. Your explanation explains the smudgeness of product photo’s, but does not give a solution. Thanks for making this effect understandable.
Hi @CarolusChess, thanks for watching!
If you are referring to the white background bleeding into your selection, one option you can try is color decontamination. I give an overview of that process in the video here:
th-cam.com/video/A2vngHe7hr0/w-d-xo.html
Another option would be to alpha lock your brush, and then paint over the edges of your cutout with the color you desire. Hope this helps!
@@TechnicallyTrent you make Affinity a wonderful tool!
I have some comments -
1) I learned about the 50% transparency moving ants thing from Dave Straker years ago (his InAffinity channel on youtube). He hasn't posted in almost a year and he use to post all the time. I'm afraid something happened to him. Your style of teaching is very similar to Daves.
2) I wish you were on a MAC so you could compare Affinity products to pixelmator pro, which was recently acquired by Apple. IMHO Affinity is more feature laden, but pixelmator pro has better selection as they have had AI for some time now
3) The latest version of Final Cut Pro (Apple App for video editing, by the way, pixelmator pro does some video editing as well), has a new mask feature that actually tracks moving "objects" based on user selection, but they don't really have a refine feature. It is trial and error to fix the mask, but I believe they do have a tolerance type knob.
Dave Straker his TH-cam channel is inaffinity. The channel is a gem. I am also worried since he disappeared, since a year.
Hi Pedro!
Yes, the InAffinity channel is great and I hope he makes more videos in he future. I didn't know he also covered this topic. I actually accidentally discovered this "50% transparency" fact only a few months ago when searching the Affinity docs for something else. Like some of the other commenters here, I had always noticed "odd" things with selections, and this fact finally explained it.
Thanks for the suggestion about Pixelmator Pro. I have a MacBook from 2015 that still runs relatively well, so perhaps I will take a look and try to make some videos on that in the future.
- Trent
@@TechnicallyTrent I use to have Dave's personal email but can't find it. I feel something happened to him because he always posted a few times a week. He had developed macros to do what the HSL wheel does now, after I had discussed with him the need for that wheel for selections, then Affinity added it. New Mac minis are relatively cheap now and I am totally Apple, after being Windows for years. I started working with Unix in 1975 and for me Apple is just a perfect implementation as Windows never worked well. Go for it.
Can you make a video or videos on advanced tips? Like, how to use the invert adjustement layer at 50% percent to remove oversaturation.
Hi @el0senor0wino0,
Sure, I can add that topic to my list. Can you expand on what you mean? If you add an HSL adjustment layer, you have the option of reducing the oversaturation.
@TechnicallyTrent Create or start with an oversaturated layer.
1. Duplicate the oversaturated pixel layer.
2. Add invert adjustment layer to the duplicate. Set invert adjustment layer to 50% opacity and set the blend mode of the invert to luminosity.
3. Group (ctrl+g) the duplicate pixel layer and its invert adjustment layer. Set the blend mode of the group to saturation.
4. Finished! The group should target only the oversaturated colors of the original image. You can probably check with a before and after comparison of the starting pixel layer. It's sort of an automatic thing.
A video on using the curves adjustment to make colors pop using LAB colors would be neat. Like adjusting the appoint and the bpoint could be neat.
Or make a video making a composite of a spooky photo. Use adjustment layers to "control" the lighting of the image using light sources, blurs, fx layers, etc. That may take a while, but it can be fun.
Just another case of: the more I learn the less I know ! Thanks for the tutorial and Have a Happy Thanksgiving !!
Happy Thanksgiving to you, too!
I am puzzled by the reaction when clipping one pixel layer to another, as opposed to creating a mask on a layer. The results are very different. Masking is straightforward to me. Clipping pixel layer to layer is not. For instance, regardless of the hue, a brush stroke acts as a hard inverse mask. I’m trying to wrap my head around this. I cannot think of a use case where this would be valuable as opposed to the controls a mask can offer. Maybe a use case would be using a silhouette to show through the parent layer, like the shape of a bird, etc.
Hi @dougdina, I have a video coming out within the next week about this very topic. Stay tuned :)
So the selection in Affinity has more depth to it.
Thank You :-)
beta 2.6 ai select is far better.... not perfect but definitely a time saver.