The differences between the two results is quite subtle, but might be worth the effort in some cases.Īs with all the macros I have posted, I have tested these on one computer under a limited number of conditions. Here are samples of the two macros, along with the settings as applied. Do this by first setting a global Intensity and Size, and then adjusting the opacity of the 3 tone ranges as desired. I have always liked adding grain that was a bit larger, because it becomes more noticeable.įor other users, the “tonal range” macro will allow you to add some additional nuance to the grain, by letting you emphasize grain in the shadows, midtones and highlights. It lets the editor vary the Intensity of the grain and also the Size. * * * * * * * * * * * * * * * * * * * * * * * *įor most users, the “simple” macro will be enough. However, you can set the Blend Range to anything you might like, as desired. This is an aesthetic choice on my part, and I think you will agree. When each of the macros finishes, the Blend Range for the result (the Film Grain layer in the case of the “simple” macro, and the Group in the case of the “tonal range” macro) is set to diminish the effect of the grain on the highlights slightly. The Grain Opacity sliders simply vary the opacity of the corresponding layers within that group. While the “simple” macro creates a single Film Grain layer, the “tonal range” version creates a group containing 3 layers, one each for the three tonal ranges. Each defaults to 100%, but can be set to values between 0 and 100. There are three separate sliders for highlights, midtones, and shadows respectively. Grain Opacity - Highlights, Midtones, and Shadows It includes the same intensity and size parameters, but also lets the user set opacity levels for highlights, midtones, and shadows separately. The second macro is called Add Film Grain - by tonal range. This is done primarily because the math breaks down at higher values. Also note that values above 0.8 are rounded down to 0.8 (and this forms an effective upper limit to the slider). The appropriate value will differ based on the image being treated, and the same perceived size might need higher values when the overall dimensions of the image are larger. The size slider accepts values between 0 and 1, with the default being 0.2. To understand intensity, think “contrast.” At 0% intensity, the grain effectively disappears. The grain intensity defaults to 100%, but can be set to any value between 0 and 100. It allows the user to add grain with 2 parameters – intensity and size. The first is called Add Film Grain - simple. This is a macros Category and should be imported into the Library panel. These filters can often vary grain size and intensity sometimes grain can be added to shadows, midtones, and highlights in differing amounts. I have admired the Film Grain effect that is available in other software, such as Nik’s Silver Efex. While adding noise is nice, it adds such a fine amount of variation that it is often quite literally unnoticeable. It has always bothered me a bit that Affinity Photo does not include a mechanism to introduce grain, other than to use the “Add Noise” filter. Adding grain to a photo is a nice way to emulate vintage images, especially older black and white photos.
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