COMPOSITION
DESIGN
COLOR
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“Reality” is constructed by your brain. Here’s what that means, and why it matters.
Read more: “Reality” is constructed by your brain. Here’s what that means, and why it matters.“Fix your gaze on the black dot on the left side of this image. But wait! Finish reading this paragraph first. As you gaze at the left dot, try to answer this question: In what direction is the object on the right moving? Is it drifting diagonally, or is it moving up and down?”
What color are these strawberries?
Are A and B the same gray?
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Photography basics: Why Use a (MacBeth) Color Chart?
Read more: Photography basics: Why Use a (MacBeth) Color Chart?Start here: https://www.pixelsham.com/2013/05/09/gretagmacbeth-color-checker-numeric-values/
https://www.studiobinder.com/blog/what-is-a-color-checker-tool/
In LightRoom
in Final Cut
in Nuke
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.
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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.
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PTGui 13 beta adds control through a Patch Editor
Read 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
LIGHTING
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Bella – Fast Spectral Rendering
Read more: Bella – Fast Spectral Rendering
Bella works in spectral space, allowing effects such as BSDF wavelength dependency, diffraction, or atmosphere to be modeled far more accurately than in color space.
https://superrendersfarm.com/blog/uncategorized/bella-a-new-spectral-physically-based-renderer/
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Custom bokeh in a raytraced DOF render
Read more: Custom bokeh in a raytraced DOF render
To achieve a custom pinhole camera effect with a custom bokeh in Arnold Raytracer, you can follow these steps:
- Set the render camera with a focal length around 50 (or as needed)
- Set the F-Stop to a high value (e.g., 22).
- Set the focus distance as you require
- Turn on DOF
- Place a plane a few cm in front of the camera.
- Texture the plane with a transparent shape at the center of it. (Transmission with no specular roughness)
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Open Source Nvidia Omniverse
Read more: Open Source Nvidia Omniverseblogs.nvidia.com/blog/2019/03/18/omniverse-collaboration-platform/
developer.nvidia.com/nvidia-omniverse
An open, Interactive 3D Design Collaboration Platform for Multi-Tool Workflows to simplify studio workflows for real-time graphics.
It supports Pixar’s Universal Scene Description technology for exchanging information about modeling, shading, animation, lighting, visual effects and rendering across multiple applications.
It also supports NVIDIA’s Material Definition Language, which allows artists to exchange information about surface materials across multiple tools.
With Omniverse, artists can see live updates made by other artists working in different applications. They can also see changes reflected in multiple tools at the same time.
For example an artist using Maya with a portal to Omniverse can collaborate with another artist using UE4 and both will see live updates of each others’ changes in their application.
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