COMPOSITION
DESIGN
COLOR
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Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminance
Read more: Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminancehttps://www.translatorscafe.com/unit-converter/en-US/illumination/1-11/
The power output of a light source is measured using the unit of watts W. This is a direct measure to calculate how much power the light is going to drain from your socket and it is not relatable to the light brightness itself.
The amount of energy emitted from it per second. That energy comes out in a form of photons which we can crudely represent with rays of light coming out of the source. The higher the power the more rays emitted from the source in a unit of time.
Not all energy emitted is visible to the human eye, so we often rely on photometric measurements, which takes in account the sensitivity of human eye to different wavelenghts
Details in the post
(more…) -
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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Colormaxxing – What if I told you that rgb(255, 0, 0) is not actually the reddest red you can have in your browser?
Read more: Colormaxxing – What if I told you that rgb(255, 0, 0) is not actually the reddest red you can have in your browser?https://karuna.dev/colormaxxing
https://webkit.org/blog-files/color-gamut/comparison.html
https://oklch.com/#70,0.1,197,100
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StudioBinder.com – CRI color rendering index
Read more: StudioBinder.com – CRI color rendering indexwww.studiobinder.com/blog/what-is-color-rendering-index
“The Color Rendering Index is a measurement of how faithfully a light source reveals the colors of whatever it illuminates, it describes the ability of a light source to reveal the color of an object, as compared to the color a natural light source would provide. The highest possible CRI is 100. A CRI of 100 generally refers to a perfect black body, like a tungsten light source or the sun. ”
www.pixelsham.com/2021/04/28/types-of-film-lights-and-their-efficiency
LIGHTING
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Arto T. – A workflow for creating photorealistic, equirectangular 360° panoramas in ComfyUI using Flux
Read more: Arto T. – A workflow for creating photorealistic, equirectangular 360° panoramas in ComfyUI using Fluxhttps://civitai.com/models/735980/flux-equirectangular-360-panorama
https://civitai.com/models/745010?modelVersionId=833115
The trigger phrase is “equirectangular 360 degree panorama”. I would avoid saying “spherical projection” since that tends to result in non-equirectangular spherical images.
Image resolution should always be a 2:1 aspect ratio. 1024 x 512 or 1408 x 704 work quite well and were used in the training data. 2048 x 1024 also works.
I suggest using a weight of 0.5 – 1.5. If you are having issues with the image generating too flat instead of having the necessary spherical distortion, try increasing the weight above 1, though this could negatively impact small details of the image. For Flux guidance, I recommend a value of about 2.5 for realistic scenes.
8-bit output at the moment
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Neural Microfacet Fields for Inverse Rendering
Read more: Neural Microfacet Fields for Inverse Renderinghttps://half-potato.gitlab.io/posts/nmf/
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Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminance
Read more: Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminancehttps://www.translatorscafe.com/unit-converter/en-US/illumination/1-11/
The power output of a light source is measured using the unit of watts W. This is a direct measure to calculate how much power the light is going to drain from your socket and it is not relatable to the light brightness itself.
The amount of energy emitted from it per second. That energy comes out in a form of photons which we can crudely represent with rays of light coming out of the source. The higher the power the more rays emitted from the source in a unit of time.
Not all energy emitted is visible to the human eye, so we often rely on photometric measurements, which takes in account the sensitivity of human eye to different wavelenghts
Details in the post
(more…) -
Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?
Read more: Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?www.colour-science.org/posts/the-colorchecker-considered-mostly-harmless/
“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.”
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