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BREAKING NEWS

LATEST POSTS

  • Introducing Rain – Free Blender animation rig

    pIXELsHAM.com
    Jul 9, 2020
    blender, software

    Views : 823
  • 14 Signs Of An Adaptable Person

    pIXELsHAM.com
    Jul 8, 2020
    quotes

    www.forbes.com/sites/jeffboss/2015/09/03/14-signs-of-an-adaptable-person/#46bd90e016ea

    1. Adaptable people experiment.

    2. Adaptable people see opportunity where others see failure.

    3. Adaptable people are resourceful.

    4. Adaptable people think ahead.

    5. Adaptable people don’t whine.

    6. Adaptable people talk to themselves.

    7. Adaptable people don’t blame.

    8. Adaptable people don’t claim fame.

    9. Adaptable people are curious.

    10. Adaptable people adapt.

    11. Adaptable people stay current.

    12. Adaptable people see systems.

    13. Adaptable people open their minds.

    14. Adaptable people know what they stand for.

    Views : 712
  • Convert between light exposure and intensity

    pIXELsHAM.com
    Jul 8, 2020
    lighting, software
    import math,sys
    
    def Exposure2Intensity(exposure): 
        exp = float(exposure)
        result = math.pow(2,exp)
        print(result)
    
    Exposure2Intensity(0)
    
    def Intensity2Exposure(intensity):
        inarg = float(intensity)
        
        if inarg == 0:
            print("Exposure of zero intensity is undefined.")
            return
        
        if inarg < 1e-323:
            inarg = max(inarg, 1e-323)
            print("Exposure of negative intensities is undefined. Clamping to a very small value instead (1e-323)")
        
        result = math.log(inarg, 2)
        print(result)
    
    Intensity2Exposure(0.1)
    

    Why Exposure?

    Exposure is a stop value that multiplies the intensity by 2 to the power of the stop. Increasing exposure by 1 results in double the amount of light.

    Artists think in “stops.” Doubling or halving brightness is easy math and common in grading and look-dev.
    Exposure counts doublings in whole stops:

    • +1 stop = ×2 brightness
    • −1 stop = ×0.5 brightness

    This gives perceptually even controls across both bright and dark values.


    Why Intensity?

    Intensity is linear.
    It’s what render engines and compositors expect when:

    • Summing values
    • Averaging pixels
    • Multiplying or filtering pixel data

    Use intensity when you need the actual math on pixel/light data.


    Formulas (from your Python)

    • Intensity from exposure: intensity = 2**exposure
    • Exposure from intensity: exposure = log₂(intensity)

    Guardrails:

    • Intensity must be > 0 to compute exposure.
    • If intensity = 0 → exposure is undefined.
    • Clamp tiny values (e.g. 1e−323) before using log₂.

    Use Exposure (stops) when…

    • You want artist-friendly sliders (−5…+5 stops)
    • Adjusting look-dev or grading in even stops
    • Matching plates with quick ±1 stop tweaks
    • Tweening brightness changes smoothly across ranges

    Use Intensity (linear) when…

    • Storing raw pixel/light values
    • Multiplying textures or lights by a gain
    • Performing sums, averages, and filters
    • Feeding values to render engines expecting linear data

    Examples

    • +2 stops → 2**2 = 4.0 (×4)
    • +1 stop → 2**1 = 2.0 (×2)
    • 0 stop → 2**0 = 1.0 (×1)
    • −1 stop → 2**(−1) = 0.5 (×0.5)
    • −2 stops → 2**(−2) = 0.25 (×0.25)
    • Intensity 0.1 → exposure = log₂(0.1) ≈ −3.32

    Rule of thumb

    Think in stops (exposure) for controls and matching.
    Compute in linear (intensity) for rendering and math.

    Views : 210
  • Ennio Morricone RIP

    pIXELsHAM.com
    Jul 7, 2020
    music, quotes, ves

    https://www.hollywoodreporter.com/news/ennio-morricone-dead-prolific-italian-composer-was-91-858358

    Views : 667
  • ‘Die Hard 2’: the story behind that famous final Yusei Uesugi’s matte painting pullback

    pIXELsHAM.com
    Jul 5, 2020
    production

    beforesandafters.com/2020/07/03/die-hard-2-the-story-behind-that-famous-final-matte-painting-pullback/amp/

     

    Views : 860
  • 5 Basic Types of Logo to Help You Decide What Kind Your Business Needs

    pIXELsHAM.com
    Jul 5, 2020
    design

    blog.red-website-design.co.uk/2014/10/17/5-basic-types-of-logo-to-help-you-decide-what-kind-your-business-needs/

    Views : 802
  • Preston Blair’s Advanced Animation and model sheet PDF

    pIXELsHAM.com
    Jul 4, 2020
    animation

    animationresources.org/instruction-preston-blairs-advanced-animation/

     

    animationresources.org/pics06/refpack021-advancedanimation.pdf

     

     

    Views : 878
  • Colour in marketing and branding

    pIXELsHAM.com
    Jul 3, 2020
    colour

     

     

     

    Views : 744
  • Pixomondo CEO Jonny Slow fires a stark warning to the VFX business

    pIXELsHAM.com
    Jul 3, 2020
    ves

    deadline.com/2020/07/post-production-covid-catastrophe-game-of-thrones-vfx-outfit-1202976057/

    “Productions shutdown is now catching up and a lack of new business is leaving companies at serious risk.

    “France-based VFX giant Technicolor SA filed for Chapter 15 in U.S. bankruptcy court as the company attempted to steady the ship and restructure some of its $1.58BN debt… The Pixomondo boss thinks that the Technicolor situation is just the tip of the iceberg.

    “Post-production is a bit like an airline, if you haven’t got any passengers, you burn through your cash very quickly – most companies will struggle to stay solvent for more than a couple of months.”

    “He notes the scale of a company such as five-time Oscar-winning studio DNEG. “They have 6,000 employees and $300M debt. When revenues stops – and it must because nothing is being shot – they have to find quite a lot of money to keep the lights on.”

    “There’s a stalemate and that’s making the potential second lockdown news so depressing. It’s fuelling cautiousness…”

    “There’s a real need for cash in this part of the sector and the payment terms need to be amended accordingly.”

    “Long term I am pretty positive on the outlook for VFX. If travelling is harder, and if it’s harder to do crowd scenes, and if producers can only get insurance for working inside studios, there are opportunities for VFX companies,”

    Views : 667
  • Disney – High Resolution Neural Face Swapping for Visual Effects

    pIXELsHAM.com
    Jul 3, 2020
    A.I., software

     

    https://www.popularmechanics.com/technology/security/a33013507/disney-deepfake-face-swap/

    Views : 760
  • World’s Biggest Data Breaches & Hacks

    pIXELsHAM.com
    Jul 2, 2020
    software

    informationisbeautiful.net/visualizations/worlds-biggest-data-breaches-hacks/

     

    Check if your email address has been recorded through these leaks:
    haveibeenpwned.com/

     

    Views : 866
  • Alexander Lee – How to make Claymation in ZBrush

    pIXELsHAM.com
    Jul 2, 2020
    animation

    Views : 689
  • DUST 3D – Open source tool to create basic 3D models

    pIXELsHAM.com
    Jul 1, 2020
    modeling, software

    https://dust3d.org/

    Views : 831
  • Projection mapping techniques in After Effects (with/without film projectors)

    pIXELsHAM.com
    Jul 1, 2020
    hardware, software

    (more…)

    Views : 805
  • How Daniel Fahlström Creates 3D-Looking Balloons With Graffiti

    pIXELsHAM.com
    Jul 1, 2020
    design

    Views : 722
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FEATURED POSTS

  • Text-To-Photorealistic StackGAN: A.I. Image Synthesis with Stacked Generative Adversarial Networks

    pIXELsHAM.com
    Nov 11, 2018
    A.I., production

    Views : 1,287
  • MòVI BT S – a digital 3-axis gyro-stabilized hand held camera gimbal

    pIXELsHAM.com
    Apr 10, 2013
    photography

    http://blog.vincentlaforet.com/2013/04/04/movi-a-revolutionary-handheld-stabilized-system-takes-flight/

    Views : 1,080
  • Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?

    pIXELsHAM.com
    Mar 6, 2021
    colour, lighting

    www.colour-science.org/posts/the-colorchecker-considered-mostly-harmless/

     

    https://www.pixelsham.com/wp-content/uploads/2021/03/2020-05-28_s-log2_colorchecker-gamut_rec709_v003.mp4

     

    “Unless you have all the relevant spectral measurements, a colour rendition chart should not be used to perform colour-correction of camera imagery but only for white balancing and relative exposure adjustments.”

     

    “Using a colour rendition chart for colour-correction might dramatically increase error if the scene light source spectrum is different from the illuminant used to compute the colour rendition chart’s reference values.”

     

    “other factors make using a colour rendition chart unsuitable for camera calibration:

    – Uncontrolled geometry of the colour rendition chart with the incident illumination and the camera.
    – Unknown sample reflectances and ageing as the colour of the samples vary with time.
    – Low samples count.
    – Camera noise and flare.
    – Etc…

     

    “Those issues are well understood in the VFX industry, and when receiving plates, we almost exclusively use colour rendition charts to white balance and perform relative exposure adjustments, i.e. plate neutralisation.”

    Views : 933
  • Benjamin Bardou – Megalopolis

    pIXELsHAM.com
    Mar 1, 2022
    design

    https://benjaminbardou.com/

    Views : 634
  • Nick Gaul – Morange model and shading

    pIXELsHAM.com
    Feb 20, 2021
    design, lighting, modeling

    https://www.artstation.com/artwork/oAmm9w

     

    Views : 953
Views : 11,547

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