![]() ![]() The Blender Filmic macros are actually designed for HDR 3D renders so users can match the filmic output they get in blender when saving directly to gamma-encoded formats like JPEG/TIFF etc, but they work very well for HDR photography as well. I'm slightly nerdy ( □) so I dabble in a bit of macro creation in my spare time and provide some free macro downloads that may help you out here: ![]() There is another option, which is to use a live procedural texture filter to perform a logarithmic transform, then shape the resulting tones using adjustment layers or 1D shaper LUTs. You can drag the Highlights Strength slider all the way to the left, then increase Highlights Range gradually-this works quite well for Archviz HDR 3D renders so you may want to try it for your photography (I presume real estate/architecture from the image you've attached?). Within the main Photo Persona, we have a live Shadows/Highlights filter located on the top Layer>New Live Filter Layer menu. After doing your bracketed HDR merge, it sounds like you have tried using the Tone Mapping Persona and experimenting with the tone compression, local contrast and shadows/highlights sliders on the Basic panel? That is usually sufficient to get a tone mapped result where the highlights are no longer out of displayable range, but if it's not working for you there are a couple of other options you can try. There are various approaches you can take to tone mapping. At the moment, the only formats you can really use to keep those HDR values are EXR, HDR and TIFF set to 32-bit in the More options on the export dialog. We are waiting for some kind of standardisation of HDR image formats on both Windows and macOS before implementing a suitable export format. Hi as you've discovered, JPEG is a bounded format and so your HDR values above 1 will be clamped. On screen, however, I can see all the detail of the door. I want that slider here. Curves and Levels aren't working too well for me. In Adobe Lightroom, there's a "Recovery" slider that does a great job of reigning in highlights and bringing back detail. The truth hurts, but at least now I can try to make it work. (I know this makes the image slightly larger, but the color accuracy improvements are important to me.) When uncheck Enable EDR in the 32-bit Preview pane, the image on screen looks as bad as the exported JPG. I assigned the sRGB color profile to my image. My settings are still default: Enabled EDR, Exposure 0, Gamma 1, and ICC Display Transform on. I've since learned about the 32-bit Preview panel. It seems like this should be possible since I'm looking at it on a computer screen, but no - saving to JPG creates a file lacking all the detail in the highlights. I want a JPG for the web, but I want it look like the image I see on the screen in front of me. So I made all my adjustments with the extra dynamic range of my Macbook's screen (a.k.a., 500 nits brightness, P3 color gamut) not realizing that I was working outside of the gamut of other screens. I did not realize is that, by default, Affinity has Enable EDR turned on. ![]() After applying the changes, I saved the Afphoto document and a layered TIFF file. I created a pleasing result as viewed on my 2018 Macbook Pro. I merged to HDR from five bracketed RAW images, and because I had checked the box I went straight into tone mapping. The quick version is I need help understanding the best workflow to go from HDR to SDR output. As you'll guess, I'm new to working with HDR/EDR. ![]()
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