COMPOSITION
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StudioBinder – Roger Deakins on How to Choose a Camera Lens — Cinematography Composition Techniques
Read more: StudioBinder – Roger Deakins on How to Choose a Camera Lens — Cinematography Composition Techniqueshttps://www.studiobinder.com/blog/camera-lens-buying-guide/
https://www.studiobinder.com/blog/e-books/camera-lenses-explained-volume-1-ebook
DESIGN
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Hand made Settlers of Catan board
Read more: Hand made Settlers of Catan boardtrytrytry.de/2016/07/mega-diy-siedler-von-catan-in-3d/
https://www.youtube.com/watch?v=Lqww2yZkeh0
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IM3 Stained glass
Read more: IM3 Stained glasshttp://imgur.com/a/GXUun#hO6wzrs
Some people are asking how… here is a brief explanation on how I did it with photos….
(more…)
COLOR
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Christopher Butler – Understanding the Eye-Mind Connection – Vision is a mental process
Read more: Christopher Butler – Understanding the Eye-Mind Connection – Vision is a mental processhttps://www.chrbutler.com/understanding-the-eye-mind-connection
The intricate relationship between the eyes and the brain, often termed the eye-mind connection, reveals that vision is predominantly a cognitive process. This understanding has profound implications for fields such as design, where capturing and maintaining attention is paramount. This essay delves into the nuances of visual perception, the brain’s role in interpreting visual data, and how this knowledge can be applied to effective design strategies.
This cognitive aspect of vision is evident in phenomena such as optical illusions, where the brain interprets visual information in a way that contradicts physical reality. These illusions underscore that what we “see” is not merely a direct recording of the external world but a constructed experience shaped by cognitive processes.
Understanding the cognitive nature of vision is crucial for effective design. Designers must consider how the brain processes visual information to create compelling and engaging visuals. This involves several key principles:
- Attention and Engagement
- Visual Hierarchy
- Cognitive Load Management
- Context and Meaning
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Virtual Production volumes study
Read more: Virtual Production volumes studyColor Fidelity in LED Volumes
https://theasc.com/articles/color-fidelity-in-led-volumesVirtual Production Glossary
https://vpglossary.com/What is Virtual Production – In depth analysis
https://www.leadingledtech.com/what-is-a-led-virtual-production-studio-in-depth-technical-analysis/A comparison of LED panels for use in Virtual Production:
Findings and recommendations
https://eprints.bournemouth.ac.uk/36826/1/LED_Comparison_White_Paper%281%29.pdf -
Willem Zwarthoed – Aces gamut in VFX production pdf
https://www.provideocoalition.com/color-management-part-12-introducing-aces/
Local copy:
https://www.slideshare.net/hpduiker/acescg-a-common-color-encoding-for-visual-effects-applications
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HDR and Color
Read more: HDR and Colorhttps://www.soundandvision.com/content/nits-and-bits-hdr-and-color
In HD we often refer to the range of available colors as a color gamut. Such a color gamut is typically plotted on a two-dimensional diagram, called a CIE chart, as shown in at the top of this blog. Each color is characterized by its x/y coordinates.
Good enough for government work, perhaps. But for HDR, with its higher luminance levels and wider color, the gamut becomes three-dimensional.
For HDR the color gamut therefore becomes a characteristic we now call the color volume. It isn’t easy to show color volume on a two-dimensional medium like the printed page or a computer screen, but one method is shown below. As the luminance becomes higher, the picture eventually turns to white. As it becomes darker, it fades to black. The traditional color gamut shown on the CIE chart is simply a slice through this color volume at a selected luminance level, such as 50%.
Three different color volumes—we still refer to them as color gamuts though their third dimension is important—are currently the most significant. The first is BT.709 (sometimes referred to as Rec.709), the color gamut used for pre-UHD/HDR formats, including standard HD.
The largest is known as BT.2020; it encompasses (roughly) the range of colors visible to the human eye (though ET might find it insufficient!).
Between these two is the color gamut used in digital cinema, known as DCI-P3.
sRGB
D65
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Photography basics: Color Temperature and White Balance
Read more: Photography basics: Color Temperature and White BalanceColor Temperature of a light source describes the spectrum of light which is radiated from a theoretical “blackbody” (an ideal physical body that absorbs all radiation and incident light – neither reflecting it nor allowing it to pass through) with a given surface temperature.
https://en.wikipedia.org/wiki/Color_temperature
Or. Most simply it is a method of describing the color characteristics of light through a numerical value that corresponds to the color emitted by a light source, measured in degrees of Kelvin (K) on a scale from 1,000 to 10,000.
More accurately. The color temperature of a light source is the temperature of an ideal backbody that radiates light of comparable hue to that of the light source.
As such, the color temperature of a light source is a numerical measurement of its color appearance. It is based on the principle that any object will emit light if it is heated to a high enough temperature, and that the color of that light will shift in a predictable manner as the temperature is increased. The system is based on the color changes of a theoretical “blackbody radiator” as it is heated from a cold black to a white hot state.
So, why do we measure the hue of the light as a “temperature”? This was started in the late 1800s, when the British physicist William Kelvin heated a block of carbon. It glowed in the heat, producing a range of different colors at different temperatures. The black cube first produced a dim red light, increasing to a brighter yellow as the temperature went up, and eventually produced a bright blue-white glow at the highest temperatures. In his honor, Color Temperatures are measured in degrees Kelvin, which are a variation on Centigrade degrees. Instead of starting at the temperature water freezes, the Kelvin scale starts at “absolute zero,” which is -273 Centigrade.
More about black bodies here: https://www.pixelsham.com/2013/03/14/black-body-color
Details in the post
LIGHTING
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Polarised vs unpolarized filtering
A light wave that is vibrating in more than one plane is referred to as unpolarized light. …
Polarized light waves are light waves in which the vibrations occur in a single plane. The process of transforming unpolarized light into polarized light is known as polarization.
en.wikipedia.org/wiki/Polarizing_filter_(photography)
The most common use of polarized technology is to reduce lighting complexity on the subject.
Details such as glare and hard edges are not removed, but greatly reduced.This method is usually used in VFX to capture raw images with the least amount of specular diffusion or pollution, thus allowing artists to infer detail back through typical shading and rendering techniques and on demand.
Light reflected from a non-metallic surface becomes polarized; this effect is maximum at Brewster’s angle, about 56° from the vertical for common glass.
A polarizer rotated to pass only light polarized in the direction perpendicular to the reflected light will absorb much of it. This absorption allows glare reflected from, for example, a body of water or a road to be reduced. Reflections from shiny surfaces (e.g. vegetation, sweaty skin, water surfaces, glass) are also reduced. This allows the natural color and detail of what is beneath to come through. Reflections from a window into a dark interior can be much reduced, allowing it to be seen through. (The same effects are available for vision by using polarizing sunglasses.)
www.physicsclassroom.com/class/light/u12l1e.cfm
Some of the light coming from the sky is polarized (bees use this phenomenon for navigation). The electrons in the air molecules cause a scattering of sunlight in all directions. This explains why the sky is not dark during the day. But when looked at from the sides, the light emitted from a specific electron is totally polarized.[3] Hence, a picture taken in a direction at 90 degrees from the sun can take advantage of this polarization.
Use of a polarizing filter, in the correct direction, will filter out the polarized component of skylight, darkening the sky; the landscape below it, and clouds, will be less affected, giving a photograph with a darker and more dramatic sky, and emphasizing the clouds.
There are two types of polarizing filters readily available, linear and “circular”, which have exactly the same effect photographically. But the metering and auto-focus sensors in certain cameras, including virtually all auto-focus SLRs, will not work properly with linear polarizers because the beam splitters used to split off the light for focusing and metering are polarization-dependent.
Polarizing filters reduce the light passed through to the film or sensor by about one to three stops (2–8×) depending on how much of the light is polarized at the filter angle selected. Auto-exposure cameras will adjust for this by widening the aperture, lengthening the time the shutter is open, and/or increasing the ASA/ISO speed of the camera.
www.adorama.com/alc/nd-filter-vs-polarizer-what%25e2%2580%2599s-the-difference
Neutral Density (ND) filters help control image exposure by reducing the light that enters the camera so that you can have more control of your depth of field and shutter speed. Polarizers or polarizing filters work in a similar way, but the difference is that they selectively let light waves of a certain polarization pass through. This effect helps create more vivid colors in an image, as well as manage glare and reflections from water surfaces. Both are regarded as some of the best filters for landscape and travel photography as they reduce the dynamic range in high-contrast images, thus enabling photographers to capture more realistic and dramatic sceneries.
shopfelixgray.com/blog/polarized-vs-non-polarized-sunglasses/
www.eyebuydirect.com/blog/difference-polarized-nonpolarized-sunglasses/
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HDRI Resources
Read more: HDRI ResourcesText2Light
- https://www.cgtrader.com/free-3d-models/exterior/other/10-free-hdr-panoramas-created-with-text2light-zero-shot
- https://frozenburning.github.io/projects/text2light/
- https://github.com/FrozenBurning/Text2Light
Royalty free links
- https://locationtextures.com/panoramas/
- http://www.noahwitchell.com/freebies
- https://polyhaven.com/hdris
- https://hdrmaps.com/
- https://www.ihdri.com/
- https://hdrihaven.com/
- https://www.domeble.com/
- http://www.hdrlabs.com/sibl/archive.html
- https://www.hdri-hub.com/hdrishop/hdri
- http://noemotionhdrs.net/hdrevening.html
- https://www.openfootage.net/hdri-panorama/
- https://www.zwischendrin.com/en/browse/hdri
Nvidia GauGAN360
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What is the Light Field?
Read more: What is the Light Field?http://lightfield-forum.com/what-is-the-lightfield/
The light field consists of the total of all light rays in 3D space, flowing through every point and in every direction.
How to Record a Light Field
- a single, robotically controlled camera
- a rotating arc of cameras
- an array of cameras or camera modules
- a single camera or camera lens fitted with a microlens array
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Rendering – BRDF – Bidirectional reflectance distribution function
Read more: Rendering – BRDF – Bidirectional reflectance distribution functionhttp://en.wikipedia.org/wiki/Bidirectional_reflectance_distribution_function
The bidirectional reflectance distribution function is a four-dimensional function that defines how light is reflected at an opaque surface
http://www.cs.ucla.edu/~zhu/tutorial/An_Introduction_to_BRDF-Based_Lighting.pdf
In general, when light interacts with matter, a complicated light-matter dynamic occurs. This interaction depends on the physical characteristics of the light as well as the physical composition and characteristics of the matter.
That is, some of the incident light is reflected, some of the light is transmitted, and another portion of the light is absorbed by the medium itself.
A BRDF describes how much light is reflected when light makes contact with a certain material. Similarly, a BTDF (Bi-directional Transmission Distribution Function) describes how much light is transmitted when light makes contact with a certain material
http://www.cs.princeton.edu/~smr/cs348c-97/surveypaper.html
It is difficult to establish exactly how far one should go in elaborating the surface model. A truly complete representation of the reflective behavior of a surface might take into account such phenomena as polarization, scattering, fluorescence, and phosphorescence, all of which might vary with position on the surface. Therefore, the variables in this complete function would be:
incoming and outgoing angle incoming and outgoing wavelength incoming and outgoing polarization (both linear and circular) incoming and outgoing position (which might differ due to subsurface scattering) time delay between the incoming and outgoing light ray
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Free HDRI libraries
Read more: Free HDRI librariesnoahwitchell.com
http://www.noahwitchell.com/freebieslocationtextures.com
https://locationtextures.com/panoramas/maxroz.com
https://www.maxroz.com/hdri/listHDRI Haven
https://hdrihaven.com/Poly Haven
https://polyhaven.com/hdrisDomeble
https://www.domeble.com/IHDRI
https://www.ihdri.com/HDRMaps
https://hdrmaps.com/NoEmotionHdrs.net
http://noemotionhdrs.net/hdrday.htmlOpenFootage.net
https://www.openfootage.net/hdri-panorama/HDRI-hub
https://www.hdri-hub.com/hdrishop/hdri.zwischendrin
https://www.zwischendrin.com/en/browse/hdriLonger list here:
https://cgtricks.com/list-sites-free-hdri/
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