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Category: production
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Walter Murch – “In the Blink of an Eye” – A perspective on cut editing
https://www.amazon.ca/Blink-Eye-Revised-2nd/dp/1879505622
Celebrated film editor Walter Murch’s vivid, multifaceted, thought-provoking essay on film editing. Starting with the most basic editing question — Why do cuts work? — Murch takes the reader on a wonderful ride through the aesthetics and practical concerns of cutting film. Along the way, he offers unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. In this second edition, Murch revises his popular first edition’s lengthy meditation on digital editing in light of technological changes. Francis Ford Coppola says about this book: “Nothing is as fascinating as spending hours listening to Walter’s theories of life, cinema and the countless tidbits of wisdom that he leaves behind like Hansel and Gretel’s trail of breadcrumbs…….”
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VES Cinematic Color – Motion-Picture Color Management
This paper presents an introduction to the color pipelines behind modern feature-film visual-effects and animation.
Authored by Jeremy Selan, and reviewed by the members of the VES Technology Committee including Rob Bredow, Dan Candela, Nick Cannon, Paul Debevec, Ray Feeney, Andy Hendrickson, Gautham Krishnamurti, Sam Richards, Jordan Soles, and Sebastian Sylwan.
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The VFX Reference Platform
The VFX Reference Platform is a set of tool and library versions to be used as a common target platform for building software for the VFX industry. Its purpose is to minimise incompatibilities between different software packages, ease the support burden for integrated pipelines and encourage further adoption of Linux by both studios and software vendors. The Reference Platform is updated annually by a group of software vendors in collaboration with the Visual Effects Society Technology Committee.
Each annual reference platform is designated by the calendar year in which major product releases should be targeting that particular reference.
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Deep Compositing in Nuke – a walkthrough
Depth Map: A depth map is a representation of the distance or depth information for each pixel in a scene. It is typically a two-dimensional array where each pixel contains a value that represents the distance from the camera to the corresponding point in the scene. The depth values are usually represented in metric units, such as meters. A depth map provides a continuous representation of the scene’s depth information.
For example, in Arnold this is achieved through a Z AOV, this collects depth of the shading points as seen from the camera.
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https://help.autodesk.com/view/ARNOL/ENU/?guid=arnold_user_guide_ac_output_aovs_ac_aovs_html
https://help.autodesk.com/view/ARNOL/ENU/?guid=arnold_for_3ds_max_ax_aov_tutorials_ax_zdepth_aov_html -
Camera Metadata Toolkit (camdkit) for Virtual Production
https://github.com/SMPTE/ris-osvp-metadata-camdkit
Today
camdkitsupports mapping (or importing, if you will) of metadata from five popular digital cinema cameras into a canonical form; it also supports a mapping of the metadata defined in the F4 protocol used by tracking system components from Mo-Sys.
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OpenTrackIO – free and open-source protocol designed to improve interoperability in Virtual Production
OpenTrackIO defines the schema of JSON samples that contain a wide range of metadata about the device, its transform(s), associated camera and lens. The full schema is given below and can be downloaded here.
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Conda – an open source management system for installing multiple versions of software packages and their dependencies into a virtual environment
https://anaconda.org/anaconda/conda
https://docs.conda.io/projects/conda/en/latest/user-guide/getting-started.html
NOTE The company recently changed their TOS and this service now incurs into costs for teams above a threshold.
Use MicroMamba instead.
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QNTM – Developer Philosophy
- Avoid, at all costs, arriving at a scenario where the ground-up rewrite starts to look attractive
- Aim to be 90% done in 50% of the available time
- Automate good practice
- Think about pathological data
- There is usually a simpler way to write it
- Write code to be testable
- It is insufficient for code to be provably correct; it should be obviously, visibly, trivially correct
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Gaussian Splatting OFX plugin for Nuke
https://radiancefields.com/gaussian-splatting-in-nuke
https://aescripts.com/gaussian-splatting-for-nuke
Features
- Import .ply files in Nuke.
- Support Compressed .ply files from SuperSplat
- Crop with Spherical or Box shape.
- Crop with Y Plane.
- Combine up to 10 models in the scene.
- Colorize with Ramp using Spherical or Box shape.
- Reveal model with Opacity Ramp.
- Animate Splat Scale with Spherical or Box shape.
- Each model can be distorted with Noise.
- Render Depth Pass for 3D compose.
- Color correction for each model.
- Real-time with GPU
- Export scene
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Emmanuel Tsekleves – Writing Research Papers
Here’s the journey of crafting a compelling paper:
1️. ABSTRACT
This is your elevator pitch.
Give a methodology overview.
Paint the problem you’re solving.
Highlight key findings and their impact.
2️. INTRODUCTION
Start with what we know.
Set the stage for our current understanding.
Hook your reader with the relevance of your work.
3️. LITERATURE REVIEW
Identify what’s unknown.
Spot the gaps in current knowledge.
Your job in the next sections is to fill this gap.
4️. METHODOLOGY
What did you do?
Outline how you’ll fill that gap.
Be transparent about your approach.
Make it reproducible so others can follow.
5️. RESULTS
Let the data speak for itself.
Present your findings clearly.
Keep it concise and focused.
6️. DISCUSSION
Now, connect the dots.
Discuss implications and significance.
How do your findings bridge the knowledge gap?
7️. CONCLUSION
Wrap it up with future directions.
What does this mean for us moving forward?
Leave the reader with a call to action or reflection.
8️. REFERENCES
Acknowledge the giants whose shoulders you stand on.
A robust reference list shows the depth of your research.
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Ranko Prozo – Modelling design tips
Every Project I work on I always create a stylization Cheat sheet. Every project is unique but some principles carry over no matter what. This is a sheet I use a lot when I work on isometric stylized projects to help keep my assets consistent and interesting. None of these concepts are my own, just lots of tips I learned over the years. I have also added this to a page on my website, will continue to update with more tips and tricks, just need time to compile it all :)
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Carlos Vilchi – Virtual Production Stage Tech scheme v1.0
Carlos Vilchi has spent some time working on collecting all the technology related to Stage Tech including:
- -All the tracking technology existing today (inside out, outside in)
- -All lens encoding vendors, and their compatibility.
- -Tools, plugins, or Hubs.
- -The different small ecosystems between: Vicon, ZEISS Cinematography, ILM Technoprops, OptiTrack, stYpe, Antilatency, Ncam Technologies Ltd, Mo-Sys Engineering Ltd, EZtrack®, ARRI, DCS – Digital Camera Systems, Zero Density, Disguise, Aximmetry Technologies, HTC VIVE, Lightcraft Technology and more!
Local copy in the post
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Bella – Fast Spectral Rendering
Bella works in spectral space, allowing effects such as BSDF wavelength dependency, diffraction, or atmosphere to be modeled far more accurately than in color space.
https://superrendersfarm.com/blog/uncategorized/bella-a-new-spectral-physically-based-renderer/
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PlanCraft – An assumptions based project schedule generator
https://www.hasielhassan.com/PlanCraft/#about
It helps you create and Open Schedule Format (OSF) JSON file for your projects.
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3D Gaussian Splatting step by step beginner course
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