COMPOSITION
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Mastering Camera Shots and Angles: A Guide for Filmmakers
Read more: Mastering Camera Shots and Angles: A Guide for Filmmakershttps://website.ltx.studio/blog/mastering-camera-shots-and-angles
1. Extreme Wide Shot
2. Wide Shot
3. Medium Shot
4. Close Up
5. Extreme Close Up
DESIGN
COLOR
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SecretWeapons MixBox – a practical library for paint-like digital color mixing
Read more: SecretWeapons MixBox – a practical library for paint-like digital color mixingInternally, Mixbox treats colors as real-life pigments using the Kubelka & Munk theory to predict realistic color behavior.
https://scrtwpns.com/mixbox/painter/
https://scrtwpns.com/mixbox.pdf
https://github.com/scrtwpns/mixbox
https://scrtwpns.com/mixbox/docs/
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Tobia Montanari – Memory Colors: an essential tool for Colorists
Read more: Tobia Montanari – Memory Colors: an essential tool for Coloristshttps://www.tobiamontanari.com/memory-colors-an-essential-tool-for-colorists/
“Memory colors are colors that are universally associated with specific objects, elements or scenes in our environment. They are the colors that we expect to see in specific situations: these colors are based on our expectation of how certain objects should look based on our past experiences and memories.
For instance, we associate specific hues, saturation and brightness values with human skintones and a slight variation can significantly affect the way we perceive a scene.
Similarly, we expect blue skies to have a particular hue, green trees to be a specific shade and so on.
Memory colors live inside of our brains and we often impose them onto what we see. By considering them during the grading process, the resulting image will be more visually appealing and won’t distract the viewer from the intended message of the story. Even a slight deviation from memory colors in a movie can create a sense of discordance, ultimately detracting from the viewer’s experience.”
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Thomas Mansencal – Colour Science for Python
Read more: Thomas Mansencal – Colour Science for Pythonhttps://thomasmansencal.substack.com/p/colour-science-for-python
https://www.colour-science.org/
Colour is an open-source Python package providing a comprehensive number of algorithms and datasets for colour science. It is freely available under the BSD-3-Clause terms.
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Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by Allegorithmic
Read more: Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by Allegorithmicacademy.substance3d.com/courses/the-pbr-guide-part-1
academy.substance3d.com/courses/the-pbr-guide-part-2
Local copy:
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FXGuide – ACES 2.0 with ILM’s Alex Fry
Read more: FXGuide – ACES 2.0 with ILM’s Alex Fry
https://draftdocs.acescentral.com/background/whats-new/
ACES 2.0 is the second major release of the components that make up the ACES system. The most significant change is a new suite of rendering transforms whose design was informed by collected feedback and requests from users of ACES 1. The changes aim to improve the appearance of perceived artifacts and to complete previously unfinished components of the system, resulting in a more complete, robust, and consistent product.
Highlights of the key changes in ACES 2.0 are as follows:
- New output transforms, including:
- A less aggressive tone scale
- More intuitive controls to create custom outputs to non-standard displays
- Robust gamut mapping to improve perceptual uniformity
- Improved performance of the inverse transforms
- Enhanced AMF specification
- An updated specification for ACES Transform IDs
- OpenEXR compression recommendations
- Enhanced tools for generating Input Transforms and recommended procedures for characterizing prosumer cameras
- Look Transform Library
- Expanded documentation
Rendering Transform
The most substantial change in ACES 2.0 is a complete redesign of the rendering transform.
ACES 2.0 was built as a unified system, rather than through piecemeal additions. Different deliverable outputs “match” better and making outputs to display setups other than the provided presets is intended to be user-driven. The rendering transforms are less likely to produce undesirable artifacts “out of the box”, which means less time can be spent fixing problematic images and more time making pictures look the way you want.
Key design goals
- Improve consistency of tone scale and provide an easy to use parameter to allow for outputs between preset dynamic ranges
- Minimize hue skews across exposure range in a region of same hue
- Unify for structural consistency across transform type
- Easy to use parameters to create outputs other than the presets
- Robust gamut mapping to improve harsh clipping artifacts
- Fill extents of output code value cube (where appropriate and expected)
- Invertible – not necessarily reversible, but Output > ACES > Output round-trip should be possible
- Accomplish all of the above while maintaining an acceptable “out-of-the box” rendering
- New output transforms, including:
LIGHTING
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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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LUX vs LUMEN vs NITS vs CANDELA – What is the difference
Read more: LUX vs LUMEN vs NITS vs CANDELA – What is the differenceMore details here: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminance
https://www.inhouseav.com.au/blog/beginners-guide-nits-lumens-brightness/
Candela
Candela is the basic unit of measure of the entire volume of light intensity from any point in a single direction from a light source. Note the detail: it measures the total volume of light within a certain beam angle and direction.
While the luminance of starlight is around 0.001 cd/m2, that of a sunlit scene is around 100,000 cd/m2, which is a hundred millions times higher. The luminance of the sun itself is approximately 1,000,000,000 cd/m2.NIT
https://en.wikipedia.org/wiki/Candela_per_square_metre
The candela per square metre (symbol: cd/m2) is the unit of luminance in the International System of Units (SI). The unit is based on the candela, the SI unit of luminous intensity, and the square metre, the SI unit of area. The nit (symbol: nt) is a non-SI name also used for this unit (1 nt = 1 cd/m2).[1] The term nit is believed to come from the Latin word nitēre, “to shine”. As a measure of light emitted per unit area, this unit is frequently used to specify the brightness of a display device.
NIT and cd/m2 (candela power) represent the same thing and can be used interchangeably. One nit is equivalent to one candela per square meter, where the candela is the amount of light which has been emitted by a common tallow candle, but NIT is not part of the International System of Units (abbreviated SI, from Systeme International, in French).
It’s easiest to think of a TV as emitting light directly, in much the same way as the Sun does. Nits are simply the measurement of the level of light (luminance) in a given area which the emitting source sends to your eyes or a camera sensor.
The Nit can be considered a unit of visible-light intensity which is often used to specify the brightness level of an LCD.
1 Nit is approximately equal to 3.426 Lumens. To work out a comparable number of Nits to Lumens, you need to multiply the number of Nits by 3.426. If you know the number of Lumens, and wish to know the Nits, simply divide the number of Lumens by 3.426.
Most consumer desktop LCDs have Nits of 200 to 300, the average TV most likely has an output capability of between 100 and 200 Nits, and an HDR TV ranges from 400 to 1,500 Nits.
Virtual Production sets currently sport around 6000 NIT ceiling and 1000 NIT wall panels.The ambient brightness of a sunny day with clear blue skies is between 7000-10,000 nits (between 3000-7000 nits for overcast skies and indirect sunlight).
A bright sunny day can have specular highlights that reach over 100,000 nits. Direct sunlight is around 1,600,000,000 nits.
10,000 nits is also the typical brightness of a fluorescent tube – bright, but not painful to look at.
https://www.displaydaily.com/article/display-daily/dolby-vision-vs-hdr10-clarified
Tests showed that a “black level” of 0.005 nits (cd/m²) satisfied the vast majority of viewers. While 0.005 nits is very close to true black, Griffis says Dolby can go down to a black of 0.0001 nits, even though there is no need or ability for displays to get that dark today.
How bright is white? Dolby says the range of 0.005 nits – 10,000 nits satisfied 84% of the viewers in their viewing tests.
The brightest consumer HDR displays today are about 1,500 nits. Professional displays where HDR content is color-graded can achieve up to 4,000 nits peak brightness.High brightness that would be in danger of damaging the eye would be in the neighborhood of 250,000 nits.
Lumens
Lumen is a measure of how much light is emitted (luminance, luminous flux) by an object. It indicates the total potential amount of light from a light source that is visible to the human eye.
Lumen is commonly used in the context of light bulbs or video-projectors as a metric for their brightness power.Lumen is used to describe light output, and about video projectors, it is commonly referred to as ANSI Lumens. Simply put, lumens is how to find out how bright a LED display is. The higher the lumens, the brighter to display!
Technically speaking, a Lumen is the SI unit of luminous flux, which is equal to the amount of light which is emitted per second in a unit solid angle of one steradian from a uniform source of one-candela intensity radiating in all directions.
LUX
Lux (lx) or often Illuminance, is a photometric unit along a given area, which takes in account the sensitivity of human eye to different wavelenghts. It is the measure of light at a specific distance within a specific area at that distance. Often used to measure the incidental sun’s intensity.
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RawTherapee – a free, open source, cross-platform raw image and HDRi processing program
Read more: RawTherapee – a free, open source, cross-platform raw image and HDRi processing program5.10 of this tool includes excellent tools to clean up cr2 and cr3 used on set to support HDRI processing.
Converting raw to AcesCG 32 bit tiffs with metadata.
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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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GretagMacbeth Color Checker Numeric Values and Middle Gray
Read more: GretagMacbeth Color Checker Numeric Values and Middle GrayThe human eye perceives half scene brightness not as the linear 50% of the present energy (linear nature values) but as 18% of the overall brightness. We are biased to perceive more information in the dark and contrast areas. A Macbeth chart helps with calibrating back into a photographic capture into this “human perspective” of the world.
https://en.wikipedia.org/wiki/Middle_gray
In photography, painting, and other visual arts, middle gray or middle grey is a tone that is perceptually about halfway between black and white on a lightness scale in photography and printing, it is typically defined as 18% reflectance in visible light
Light meters, cameras, and pictures are often calibrated using an 18% gray card[4][5][6] or a color reference card such as a ColorChecker. On the assumption that 18% is similar to the average reflectance of a scene, a grey card can be used to estimate the required exposure of the film.
https://en.wikipedia.org/wiki/ColorChecker
The exposure meter in the camera does not know whether the subject itself is bright or not. It simply measures the amount of light that comes in, and makes a guess based on that. The camera will aim for 18% gray independently, meaning if you take a photo of an entirely white surface, and an entirely black surface you should get two identical images which both are gray (at least in theory). Thus enters the Macbeth chart.
<!–more–>
Note that Chroma Key Green is reasonably close to an 18% gray reflectance.
http://www.rags-int-inc.com/PhotoTechStuff/MacbethTarget/
No Camera Data 
https://upload.wikimedia.org/wikipedia/commons/b/b4/CIE1931xy_ColorChecker_SMIL.svg
RGB coordinates of the Macbeth ColorChecker
https://pdfs.semanticscholar.org/0e03/251ad1e6d3c3fb9cb0b1f9754351a959e065.pdf
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IES Light Profiles and editing software
Read more: IES Light Profiles and editing softwarehttp://www.derekjenson.com/3d-blog/ies-light-profiles
https://ieslibrary.com/en/browse#ies
https://leomoon.com/store/shaders/ies-lights-pack
https://docs.arnoldrenderer.com/display/a5afmug/ai+photometric+light
IES profiles are useful for creating life-like lighting, as they can represent the physical distribution of light from any light source.
The IES format was created by the Illumination Engineering Society, and most lighting manufacturers provide IES profile for the lights they manufacture.
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