COMPOSITION
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Composition and The Expressive Nature Of Light
Read more: Composition and The Expressive Nature Of Lighthttp://www.huffingtonpost.com/bill-danskin/post_12457_b_10777222.html
George Sand once said “ The artist vocation is to send light into the human heart.”
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Composition – These are the basic lighting techniques you need to know for photography and film
Read more: Composition – These are the basic lighting techniques you need to know for photography and film
http://www.diyphotography.net/basic-lighting-techniques-need-know-photography-film/
Amongst the basic techniques, there’s…
1- Side lighting – Literally how it sounds, lighting a subject from the side when they’re faced toward you
2- Rembrandt lighting – Here the light is at around 45 degrees over from the front of the subject, raised and pointing down at 45 degrees
3- Back lighting – Again, how it sounds, lighting a subject from behind. This can help to add drama with silouettes
4- Rim lighting – This produces a light glowing outline around your subject
5- Key light – The main light source, and it’s not necessarily always the brightest light source
6- Fill light – This is used to fill in the shadows and provide detail that would otherwise be blackness
7- Cross lighting – Using two lights placed opposite from each other to light two subjects
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Photography basics: Camera Aspect Ratio, Sensor Size and Depth of Field – resolutions
Read more: Photography basics: Camera Aspect Ratio, Sensor Size and Depth of Field – resolutionshttp://www.shutterangle.com/2012/cinematic-look-aspect-ratio-sensor-size-depth-of-field/
http://www.shutterangle.com/2012/film-video-aspect-ratio-artistic-choice/
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Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning
Read more: Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning
http://www.diyphotography.net/5-tips-creating-perfect-cinematic-lighting-making-work-look-stunning/
1. Learn the rules of lighting
2. Learn when to break the rules
3. Make your key light larger
4. Reverse keying
5. Always be backlighting
DESIGN
COLOR
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Victor Perez – The Color Management Handbook for Visual Effects Artists
Read more: Victor Perez – The Color Management Handbook for Visual Effects ArtistsDigital Color Principles, Color Management Fundamentals & ACES Workflows
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Mysterious animation wins best illusion of 2011 – Motion silencing illusion
Read more: Mysterious animation wins best illusion of 2011 – Motion silencing illusionThe 2011 Best Illusion of the Year uses motion to render color changes invisible, and so reveals a quirk in our visual systems that is new to scientists.
https://en.wikipedia.org/wiki/Motion_silencing_illusion
“It is a really beautiful effect, revealing something about how our visual system works that we didn’t know before,” said Daniel Simons, a professor at the University of Illinois, Champaign-Urbana. Simons studies visual cognition, and did not work on this illusion. Before its creation, scientists didn’t know that motion had this effect on perception, Simons said.
A viewer stares at a speck at the center of a ring of colored dots, which continuously change color. When the ring begins to rotate around the speck, the color changes appear to stop. But this is an illusion. For some reason, the motion causes our visual system to ignore the color changes. (You can, however, see the color changes if you follow the rotating circles with your eyes.)
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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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If a blind person gained sight, could they recognize objects previously touched?
Read more: If a blind person gained sight, could they recognize objects previously touched?Blind people who regain their sight may find themselves in a world they don’t immediately comprehend. “It would be more like a sighted person trying to rely on tactile information,” Moore says.
Learning to see is a developmental process, just like learning language, Prof Cathleen Moore continues. “As far as vision goes, a three-and-a-half year old child is already a well-calibrated system.”
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Capturing textures albedo
Read more: Capturing textures albedoBuilding a Portable PBR Texture Scanner by Stephane Lb
http://rtgfx.com/pbr-texture-scanner/
How To Split Specular And Diffuse In Real Images, by John Hable
http://filmicworlds.com/blog/how-to-split-specular-and-diffuse-in-real-images/Capturing albedo using a Spectralon
https://www.activision.com/cdn/research/Real_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdfReal_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdf
Spectralon is a teflon-based pressed powderthat comes closest to being a pure Lambertian diffuse material that reflects 100% of all light. If we take an HDR photograph of the Spectralon alongside the material to be measured, we can derive thediffuse albedo of that material.
The process to capture diffuse reflectance is very similar to the one outlined by Hable.
1. We put a linear polarizing filter in front of the camera lens and a second linear polarizing filterin front of a modeling light or a flash such that the two filters are oriented perpendicular to eachother, i.e. cross polarized.
2. We place Spectralon close to and parallel with the material we are capturing and take brack-eted shots of the setup7. Typically, we’ll take nine photographs, from -4EV to +4EV in 1EVincrements.
3. We convert the bracketed shots to a linear HDR image. We found that many HDR packagesdo not produce an HDR image in which the pixel values are linear. PTGui is an example of apackage which does generate a linear HDR image. At this point, because of the cross polarization,the image is one of surface diffuse response.
4. We open the file in Photoshop and normalize the image by color picking the Spectralon, filling anew layer with that color and setting that layer to “Divide”. This sets the Spectralon to 1 in theimage. All other color values are relative to this so we can consider them as diffuse albedo.
LIGHTING
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What light is best to illuminate gems for resale
Read more: What light is best to illuminate gems for resalewww.palagems.com/gem-lighting2
Artificial light sources, not unlike the diverse phases of natural light, vary considerably in their properties. As a result, some lamps render an object’s color better than others do.
The most important criterion for assessing the color-rendering ability of any lamp is its spectral power distribution curve.
Natural daylight varies too much in strength and spectral composition to be taken seriously as a lighting standard for grading and dealing colored stones. For anything to be a standard, it must be constant in its properties, which natural light is not.
For dealers in particular to make the transition from natural light to an artificial light source, that source must offer:
1- A degree of illuminance at least as strong as the common phases of natural daylight.
2- Spectral properties identical or comparable to a phase of natural daylight.A source combining these two things makes gems appear much the same as when viewed under a given phase of natural light. From the viewpoint of many dealers, this corresponds to a naturalappearance.
The 6000° Kelvin xenon short-arc lamp appears closest to meeting the criteria for a standard light source. Besides the strong illuminance this lamp affords, its spectrum is very similar to CIE standard illuminants of similar color temperature.
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Composition – These are the basic lighting techniques you need to know for photography and film
Read more: Composition – These are the basic lighting techniques you need to know for photography and filmhttp://www.diyphotography.net/basic-lighting-techniques-need-know-photography-film/
Amongst the basic techniques, there’s…
1- Side lighting – Literally how it sounds, lighting a subject from the side when they’re faced toward you
2- Rembrandt lighting – Here the light is at around 45 degrees over from the front of the subject, raised and pointing down at 45 degrees
3- Back lighting – Again, how it sounds, lighting a subject from behind. This can help to add drama with silouettes
4- Rim lighting – This produces a light glowing outline around your subject
5- Key light – The main light source, and it’s not necessarily always the brightest light source
6- Fill light – This is used to fill in the shadows and provide detail that would otherwise be blackness
7- Cross lighting – Using two lights placed opposite from each other to light two subjects
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