THE NVIDIA MATERIAL DEFINITION LANGUAGE (MDL) gives you the freedom to share physically based materials and lights between supporting applications.
For example, create an MDL material in an application like Allegorithmic Substance Designer, save it to your library, then use it in NVIDIA® Iray® or Chaos Group’s V-Ray, or any other supporting application.
Unlike a shading language that produces programs for a particular renderer, MDL materials define the behavior of light at a high level. Different renderers and tools interpret the light behavior and create the best possible image.
TERMINOLOGY USED on FILM SETS “10-4”: Short for “I understand” or “copy.” “10-100”: Short for “Going to the honey wagon”; a trip to the bathroom. “What’s your 20?” Short for “Where are you?” “Action”: Director’s cue for the actors and/or action to begin. “Back to First Marks”: Instruction for actors/extras to return to their first positions; also referred to as “Ones.” “Background”: Cue for extras and any other background action elements to begin their action. Call Time: The time you must be on set or location, ready to work. Circus: Makeup, Hair and Wardrobe Trucks, Honey wagons, Mobile Dressing Rooms and Catering. Company Move: Short for “We’re on the move’; this means that the entire unit is finished at that location and is “Cut”: The call to stop the action. Before releasing any lock-up make sure you hear cut from the 1st AD. Day for Night: Using special camera lenses, lighting and film stock to create a night look during the day. Exterior: Outdoor shot Extras: Performers hired to provide background action; also known as the “background performers”. Genie Lift: A raising platform/crane used mainly for high angle shots and lighting for exterior night shots. “Go Again”: Repeat the same shot. (Get used to hearing this one). Honey-wagon: Washroom truck. Hot Set: The set is ready for shooting and must remain exactly as is for continuity (high priority). Interior: Indoor shot. “Lock It Up”: Short for “Be quiet and get ready for cameras to roll Martini Shot: Last shot before wrap; also “Window Shot” MOS: Mute On Screen. Camera is rolling but not recording sound. Pick-Up: Re-filming part of a scene from a specific point in the action. “Picture’s up”: Rehearsal is complete; cameras will roll on the next action. “Roll Camera”: Cue to the camera operator to begin rolling film. “Roll Sound”: Cue to the sound mixer to begin recording sound. “Rolling”: Film and sound are rolling, action is about to begin. Be quiet and still! Room Tone: Recording dead air (no dialogue) for matching sound ambience during post-production. Be quiet! “Speed”: Response heard from Sound Mixer after “Roll Sound”, meaning that themachine is up to speed. “Stand By”: Hold your positions for a temporary delay, and be prepared for rolling. Star Wagon: Mobile dressing room for actors Tow Shot: A sequence where a picture car is towed by a camera truck for traveling car scenes. “Turn Around”: Reversing the camera angle 180 degrees. This is not to be confused with crew turnaround, which is the required rest period between workdays. Wild Sound: Recording specific dialogue or sounds without the camera rolling, for editing purposes; also “wild lines.” Wrap: The end of the shooting day (finally!).
An exposure stop is a unit measurement of Exposure as such it provides a universal linear scale to measure the increase and decrease in light, exposed to the image sensor, due to changes in shutter speed, iso and f-stop.
+-1 stop is a doubling or halving of the amount of light let in when taking a photo
1 EV (exposure value) is just another way to say one stop of exposure change.
Same applies to shutter speed, iso and aperture.
Doubling or halving your shutter speed produces an increase or decrease of 1 stop of exposure.
Doubling or halving your iso speed produces an increase or decrease of 1 stop of exposure.
[Any] story [has to be] complete in itself. If there are gaps that you’re hoping will be filled in with visual effects, you’re likely to be disappointed. We can add ideas, we can help in whatever way that we can, but you want to make sure that when you read it, it reads well.
[Our responsibility as VFX artist] I think first and foremost [is] to engage the audience. Everything that we do has to be part of the audience wanting to sit there and watch that movie and see what happens next. And it’s a combination of things. It’s the drama of the characters. It’s maybe what you can do to a scene to make it compelling to look at, the realism that you might need to get people drawn into that moment. It could be any number of things, but it’s really about just making sure that you’re always in mind of how the audience is experiencing what they’re seeing.
RASTERIZATION Rasterisation (or rasterization) is the task of taking the information described in a vector graphics format OR the vertices of triangles making 3D shapes and converting them into a raster image (a series of pixels, dots or lines, which, when displayed together, create the image which was represented via shapes), or in other words “rasterizing” vectors or 3D models onto a 2D plane for display on a computer screen.
For each triangle of a 3D shape, you project the corners of the triangle on the virtual screen with some math (projective geometry). Then you have the position of the 3 corners of the triangle on the pixel screen. Those 3 points have texture coordinates, so you know where in the texture are the 3 corners. The cost is proportional to the number of triangles, and is only a little bit affected by the screen resolution.
In computer graphics, a raster graphics orbitmap image is a dot matrix data structure that represents a generally rectangular grid of pixels (points of color), viewable via a monitor, paper, or other display medium.
With rasterization, objects on the screen are created from a mesh of virtual triangles, or polygons, that create 3D models of objects. A lot of information is associated with each vertex, including its position in space, as well as information about color, texture and its “normal,” which is used to determine the way the surface of an object is facing.
Computers then convert the triangles of the 3D models into pixels, or dots, on a 2D screen. Each pixel can be assigned an initial color value from the data stored in the triangle vertices.
Further pixel processing or “shading,” including changing pixel color based on how lights in the scene hit the pixel, and applying one or more textures to the pixel, combine to generate the final color applied to a pixel.
The main advantage of rasterization is its speed. However, rasterization is simply the process of computing the mapping from scene geometry to pixels and does not prescribe a particular way to compute the color of those pixels. So it cannot take shading, especially the physical light, into account and it cannot promise to get a photorealistic output. That’s a big limitation of rasterization.
There are also multiple problems:
If you have two triangles one is behind the other, you will draw twice all the pixels. you only keep the pixel from the triangle that is closer to you (Z-buffer), but you still do the work twice.
The borders of your triangles are jagged as it is hard to know if a pixel is in the triangle or out. You can do some smoothing on those, that is anti-aliasing.
You have to handle every triangles (including the ones behind you) and then see that they do not touch the screen at all. (we have techniques to mitigate this where we only look at triangles that are in the field of view)
Transparency is hard to handle (you can’t just do an average of the color of overlapping transparent triangles, you have to do it in the right order)
