COMPOSITION
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Composition – These are the basic lighting techniques you need to know for photography and filmRead 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 
DESIGN
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Interactive Maps of Earthquakes around the worldRead more: Interactive Maps of Earthquakes around the worldhttps://ralucanicola.github.io/JSAPI_demos/earthquakes https://ralucanicola.github.io/JSAPI_demos/earthquakes-depth https://ralucanicola.github.io/JSAPI_demos/ridgecrest-earthquake https://ralucanicola.github.io/JSAPI_demos/last-earthquakes  
COLOR
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PBR Color Reference List for Materials – by Grzegorz BaranRead more: PBR Color Reference List for Materials – by Grzegorz Baran“The list should be helpful for every material artist who work on PBR materials as it contains over 200 color values measured with PCE-RGB2 1002 Color Spectrometer device and presented in linear and sRGB (2.2) gamma space. All color values, HUE and Saturation in this list come from measurements taken with PCE-RGB2 1002 Color Spectrometer device and are presented in linear and sRGB (2.2) gamma space (more info at the end of this video) I calculated Relative Luminance and Luminance values based on captured color using my own equation which takes color based luminance perception into consideration. Bare in mind that there is no ‘one’ color per substance as nothing in nature is even 100% uniform and any value in +/-10% range from these should be considered as correct one. Therefore this list should be always considered as a color reference for material’s albedos, not ulitimate and absolute truth.“ 
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RawTherapee – a free, open source, cross-platform raw image and HDRi processing programRead 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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About color: What is a LUTRead more: About color: What is a LUThttp://www.lightillusion.com/luts.html https://www.shutterstock.com/blog/how-use-luts-color-grading A LUT (Lookup Table) is essentially the modifier between two images, the original image and the displayed image, based on a mathematical formula. Basically conversion matrices of different complexities. There are different types of LUTS – viewing, transform, calibration, 1D and 3D. 
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The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t SeeRead more: The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t Seewww.livescience.com/17948-red-green-blue-yellow-stunning-colors.html  While the human eye has red, green, and blue-sensing cones, those cones are cross-wired in the retina to produce a luminance channel plus a red-green and a blue-yellow channel, and it’s data in that color space (known technically as “LAB”) that goes to the brain. That’s why we can’t perceive a reddish-green or a yellowish-blue, whereas such colors can be represented in the RGB color space used by digital cameras. https://en.rockcontent.com/blog/the-use-of-yellow-in-data-design The back of the retina is covered in light-sensitive neurons known as cone cells and rod cells. There are three types of cone cells, each sensitive to different ranges of light. These ranges overlap, but for convenience the cones are referred to as blue (short-wavelength), green (medium-wavelength), and red (long-wavelength). The rod cells are primarily used in low-light situations, so we’ll ignore those for now. When light enters the eye and hits the cone cells, the cones get excited and send signals to the brain through the visual cortex. Different wavelengths of light excite different combinations of cones to varying levels, which generates our perception of color. You can see that the red cones are most sensitive to light, and the blue cones are least sensitive. The sensitivity of green and red cones overlaps for most of the visible spectrum.  Here’s how your brain takes the signals of light intensity from the cones and turns it into color information. To see red or green, your brain finds the difference between the levels of excitement in your red and green cones. This is the red-green channel. To get “brightness,” your brain combines the excitement of your red and green cones. This creates the luminance, or black-white, channel. To see yellow or blue, your brain then finds the difference between this luminance signal and the excitement of your blue cones. This is the yellow-blue channel. From the calculations made in the brain along those three channels, we get four basic colors: blue, green, yellow, and red. Seeing blue is what you experience when low-wavelength light excites the blue cones more than the green and red. Seeing green happens when light excites the green cones more than the red cones. Seeing red happens when only the red cones are excited by high-wavelength light. Here’s where it gets interesting. Seeing yellow is what happens when BOTH the green AND red cones are highly excited near their peak sensitivity. This is the biggest collective excitement that your cones ever have, aside from seeing pure white. Notice that yellow occurs at peak intensity in the graph to the right. Further, the lens and cornea of the eye happen to block shorter wavelengths, reducing sensitivity to blue and violet light. 
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PTGui 13 beta adds control through a Patch EditorRead more: PTGui 13 beta adds control through a Patch EditorAdditions: - Patch Editor (PTGui Pro)
- DNG output
- Improved RAW / DNG handling
- JPEG 2000 support
- Performance improvements
 
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Scene Referred vs Display Referred color workflowsRead more: Scene Referred vs Display Referred color workflowsDisplay Referred it is tied to the target hardware, as such it bakes color requirements into every type of media output request. Scene Referred uses a common unified wide gamut and targeting audience through CDL and DI libraries instead. 
 So that color information stays untouched and only “transformed” as/when needed.Sources: 
 – Victor Perez – Color Management Fundamentals & ACES Workflows in Nuke
 – https://z-fx.nl/ColorspACES.pdf
 – Wicus
 
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What light is best to illuminate gems for resaleRead 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.   
LIGHTING
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Christopher Butler – Understanding the Eye-Mind Connection – Vision is a mental processRead 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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Composition – cinematography Cheat SheetRead more: Composition – cinematography Cheat Sheet Where is our eye attracted first? Why? Size. Focus. Lighting. Color. Size. Mr. White (Harvey Keitel) on the right. 
 Focus. He’s one of the two objects in focus.
 Lighting. Mr. White is large and in focus and Mr. Pink (Steve Buscemi) is highlighted by
 a shaft of light.
 Color. Both are black and white but the read on Mr. White’s shirt now really stands out.
 (more…)
 What type of lighting?
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Composition and The Expressive Nature Of LightRead 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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