Composition and The Expressive Nature Of Light
/ composition, lighting, photography

http://www.huffingtonpost.com/bill-danskin/post_12457_b_10777222.html

George Sand once said “ The artist vocation is to send light into the human heart.”

We got 10 CEOs to tell us their one killer interview question for new hires
/ quotes

http://qz.com/608398/be-prepared-we-gotasked-10-ceos-to-tellgive-us-their-killer-interview-questions/

 

  • “Would you rather be respected or feared?”
  • “Why are you here today?”
  • “What’s your biggest dream in life?”
  • “I ask how they were treated.”
  • “What is your favorite property in Monopoly, and why?”
  • “Tell me about when you failed.”
  • “Talk to me about when you were seven or eight. Who did you want to be?”

 

8 Tips for Scaling Rendering to the Cloud
/ hardware, production

http://www.awn.com/animationworld/8-tips-scaling-rendering-cloud

 

1.Understand data traffic patterns on your network

 

2.Watch the volume of requests to your render farm manager 3.Don’t burden your file server 4.Don’t underestimate license management during rendering 5.Match your hardware to the type of render job 6.Cache or sync data to reduce traffic at scale 7.Your Supervisor needs horsepower!

 

8.Keep a watchful eye on your spending

Travel at light speed is not possible
/ quotes

Why is that light is calculated as using the same speed independently from the medium?

 

http://rationalwiki.org/wiki/Speed_of_light Suppose a baseball pitcher is standing on a train moving at 90 miles per hour relative to the ground. The pitcher throws a 90 mile-per-hour fastball towards the back of the train. While the pitcher and anyone else on the train would measure the speed of the baseball as 90 miles per hour, an observer on the ground would measure the baseball’s speed as 0 miles per hour – the motion of the ball against the train cancels out as far as the observers on the ground are concerned. That is, the baseball would appear to hang in midair, until the back wall of the train caught up to it.

 

Similarly, if the pitcher threw the ball in the other direction, at the same speed, the people on the ground would see the ball travel at an impressive 180 miles per hour, as the ball would gather momentum from the train and the speeds would combine. However, if the pitcher shines a flashlight toward the back of the train, he would measure the speed of the light as c…and so would the observer on the ground.

 

Light can travel in a vacuum, and Maxwell’s equations simply say what the speed is, and are perplexingly silent on the “medium” that it is measured relative to. The speed of light is considered to be an ultimate speed limit–massive objects can obtain speeds arbitrarily close to the speed of light, but can never reach it.

 

Relativity predicts that an infinite amount of energy would be required to accelerate an object of any mass to the speed of light – particles without mass, however, can travel at the speed of light.

 

Suppose Alice observes a light beam. She must therefore be able to observe oscillating electric and magnetic fields, since that’s what light is. Now suppose that she notices Bob traveling at the speed of light alongside that light beam. Bob does not observe oscillating fields; since he’s traveling at the same speed as the oscillations, he would see static fields. Without oscillating fields, there is no light, so the light beam does not exist. But we have postulated that Alice sees a light beam, so it must exist. We therefore have a contradiction, and must abandon one of the following:

 

a.) Alice can observe light;

b.) Bob can travel at the speed of light. We can observe light, so we drop the idea that Bob can travel at the speed of light. Thus, travel at light speed is not possible.

 

The existence of some faster-than-light particles, such as tachyons, has been suggested. Tachyons, if they existed, would be confined to the “other side” of the light-speed barrier; they would be restricted to speeds faster than the speed of light

More gravitational waves detected
/ quotes

Gravitational waves are a prediction of the Theory of General Relativity It took decades to develop the technology to directly detect them They are ripples in the fabric of space and time produced by violent events Accelerating masses will produce waves that propagate at the speed of light Detectable sources ought to include merging black holes and neutron stars LIGO fires lasers into long, L-shaped tunnels; the waves disturb the light

http://www.bbc.com/news/science-environment-36540254

About color: What is a LUT
/ colour, photography, reference

http://www.lightillusion.com/luts.html

https://www.shutterstock.com/blog/how-use-luts-color-grading

 

A LUT (Lookup Table) is essentially the modifier between two images, the original image and the displayed image, based on a mathematical formula. Basically conversion matrices of different complexities. There are different types of LUTS – viewing, transform, calibration, 1D and 3D.

 

What is a Gamut or Color Space and why do I need to know about CIE
/ colour, photography, reference

http://www.xdcam-user.com/2014/05/what-is-a-gamut-or-color-space-and-why-do-i-need-to-know-about-it/

 

In video terms gamut is normally related to as the full range of colours and brightness that can be either captured or displayed.

 

Generally speaking all color gamuts recommendations are trying to define a reasonable level of color representation based on available technology and hardware. REC-601 represents the old TVs. REC-709 is currently the most distributed solution. P3 is mainly available in movie theaters and is now being adopted in some of the best new 4K HDR TVs. Rec2020 (a wider space than P3 that improves on visibke color representation) and ACES (the full coverage of visible color) are other common standards which see major hardware development these days.

 

 

To compare and visualize different solution (across video and printing solutions), most developers use the CIE color model chart as a reference.
The CIE color model is a color space model created by the International Commission on Illumination known as the Commission Internationale de l’Elcairage (CIE) in 1931. It is also known as the CIE XYZ color space or the CIE 1931 XYZ color space.
This chart represents the first defined quantitative link between distributions of wavelengths in the electromagnetic visible spectrum, and physiologically perceived colors in human color vision. Or basically, the range of color a typical human eye can perceive through visible light.

 

Note that while the human perception is quite wide, and generally speaking biased towards greens (we are apes after all), the amount of colors available through nature, generated through light reflection, tend to be a much smaller section. This is defined by the Pointer’s Chart.

 

In short. Color gamut is a representation of color coverage, used to describe data stored in images against available hardware and viewer technologies.

 

Camera color encoding from
https://www.slideshare.net/hpduiker/acescg-a-common-color-encoding-for-visual-effects-applications

 

CIE 1976

http://bernardsmith.eu/computatrum/scan_and_restore_archive_and_print/scanning/

 

https://store.yujiintl.com/blogs/high-cri-led/understanding-cie1931-and-cie-1976

 

The CIE 1931 standard has been replaced by a CIE 1976 standard. Below we can see the significance of this.

 

People have observed that the biggest issue with CIE 1931 is the lack of uniformity with chromaticity, the three dimension color space in rectangular coordinates is not visually uniformed.

 

The CIE 1976 (also called CIELUV) was created by the CIE in 1976. It was put forward in an attempt to provide a more uniform color spacing than CIE 1931 for colors at approximately the same luminance

 

The CIE 1976 standard colour space is more linear and variations in perceived colour between different people has also been reduced. The disproportionately large green-turquoise area in CIE 1931, which cannot be generated with existing computer screens, has been reduced.

 

If we move from CIE 1931 to the CIE 1976 standard colour space we can see that the improvements made in the gamut for the “new” iPad screen (as compared to the “old” iPad 2) are more evident in the CIE 1976 colour space than in the CIE 1931 colour space, particularly in the blues from aqua to deep blue.

 

 

https://dot-color.com/2012/08/14/color-space-confusion/

Despite its age, CIE 1931, named for the year of its adoption, remains a well-worn and familiar shorthand throughout the display industry. CIE 1931 is the primary language of customers. When a customer says that their current display “can do 72% of NTSC,” they implicitly mean 72% of NTSC 1953 color gamut as mapped against CIE 1931.