The largest city in the world is as big as Austria, but few people have ever heard of it. The megacity of 34 million people in central of China is the emblem of the fastest urban revolution on the planet.
Basically, gamma is the relationship between the brightness of a pixel as it appears on the screen, and the numerical value of that pixel. Generally Gamma is just about defining relationships.
Three main types: – Image Gamma encoded in images – Display Gammas encoded in hardware and/or viewing time – System or Viewing Gamma which is the net effect of all gammas when you look back at a final image. In theory this should flatten back to 1.0 gamma.
This page compares images rendered in Arnold using spectral rendering and different sets of colourspace primaries: Rec.709, Rec.2020, ACES and DCI-P3. The SPD data for the GretagMacbeth Color Checker are the measurements of Noburu Ohta, taken from Mansencal, Mauderer and Parsons (2014) colour-science.org.
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.
In color technology, color depth also known as bit depth, is either the number of bits used to indicate the color of a single pixel, OR the number of bits used for each color component of a single pixel.
When referring to a pixel, the concept can be defined as bits per pixel (bpp).
When referring to a color component, the concept can be defined as bits per component, bits per channel, bits per color (all three abbreviated bpc), and also bits per pixel component, bits per color channel or bits per sample (bps). Modern standards tend to use bits per component, but historical lower-depth systems used bits per pixel more often.
Color depth is only one aspect of color representation, expressing the precision with which the amount of each primary can be expressed; the other aspect is how broad a range of colors can be expressed (the gamut). The definition of both color precision and gamut is accomplished with a color encoding specification which assigns a digital code value to a location in a color space.
1 to 100% Stepless Dimming, 1500 Lux Brightness at 3.3′
LCD Info Screen. Powered by an L-series battery, D-Tap, or USB-C
Because the light has a variable color range of 3200 to 9500K, when the light is set to 5500K (daylight balanced) both sets of LEDs are on at full, providing the maximum brightness from this fixture when compared to using the light at 3200 or 9500K.
The LCD screen provides information on the fixture’s output as well as the charge state of the battery. The screen also indicates whether the adjustment knob is controlling brightness or color temperature. To switch from brightness to CCT or CCT to brightness, just apply a short press to the adjustment knob.
The included cold shoe ball joint adapter enables mounting the light to your camera’s accessory shoe via the 1/4″-20 threaded hole on the fixture. In addition, the bottom of the cold shoe foot features a 3/8″-16 threaded hole, and includes a 3/8″-16 to 1/4″-20 reducing bushing.
Note: In Foundry’s Nuke, the software will map 18% gray to whatever your center f/stop is set to in the viewer settings (f/8 by default… change that to EV by following the instructions below).
You can experiment with this by attaching an Exposure node to a Constant set to 0.18, setting your viewer read-out to Spotmeter, and adjusting the stops in the node up and down. You will see that a full stop up or down will give you the respective next value on the aperture scale (f8, f11, f16 etc.).
One stop doubles or halves the amount or light that hits the filmback/ccd, so everything works in powers of 2.
So starting with 0.18 in your constant, you will see that raising it by a stop will give you .36 as a floating point number (in linear space), while your f/stop will be f/11 and so on.
If you set your center stop to 0 (see below) you will get a relative readout in EVs, where EV 0 again equals 18% constant gray.
In other words. Setting the center f-stop to 0 means that in a neutral plate, the middle gray in the macbeth chart will equal to exposure value 0. EV 0 corresponds to an exposure time of 1 sec and an aperture of f/1.0.
This will set the sun usually around EV12-17 and the sky EV1-4 , depending on cloud coverage.
To switch Foundry’s Nuke’s SpotMeter to return the EV of an image, click on the main viewport, and then press s, this opens the viewer’s properties. Now set the center f-stop to 0 in there. And the SpotMeter in the viewport will change from aperture and fstops to EV.
Divesh Naidoo: The video below was made with a live in-camera preview and auto-exposure matching, no camera solve, no HDRI capture and no manual compositing setup. Using the new Simulon phone app.
This 2025 I decided to start learning how to code, so I installed Visual Studio and I started looking into C++. After days of watching tutorials and guides about the basics of C++ and programming, I decided to make something physics-related. I started with a dot that fell to the ground and then I wanted to simulate gravitational attraction, so I made 2 circles attracting each other. I thought it was really cool to see something I made with code actually work, so I kept building on top of that small, basic program. And here we are after roughly 8 months of learning programming. This is Galaxy Engine, and it is a simulation software I have been making ever since I started my learning journey. It currently can simulate gravity, dark matter, galaxies, the Big Bang, temperature, fluid dynamics, breakable solids, planetary interactions, etc. The program can run many tens of thousands of particles in real time on the CPU thanks to the Barnes-Hut algorithm, mixed with Morton curves. It also includes its own PBR 2D path tracer with BVH optimizations. The path tracer can simulate a bunch of stuff like diffuse lighting, specular reflections, refraction, internal reflection, fresnel, emission, dispersion, roughness, IOR, nested IOR and more! I tried to make the path tracer closer to traditional 3D render engines like V-Ray. I honestly never imagined I would go this far with programming, and it has been an amazing learning experience so far. I think that mixing this knowledge with my 3D knowledge can unlock countless new possibilities. In case you are curious about Galaxy Engine, I made it completely free and Open-Source so that anyone can build and compile it locally! You can find the source code inGitHub
5.10 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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