COMPOSITION
DESIGN
COLOR
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Photography basics: Color Temperature and White Balance
Read more: Photography basics: Color Temperature and White BalanceColor Temperature of a light source describes the spectrum of light which is radiated from a theoretical “blackbody” (an ideal physical body that absorbs all radiation and incident light – neither reflecting it nor allowing it to pass through) with a given surface temperature.
https://en.wikipedia.org/wiki/Color_temperature
Or. Most simply it is a method of describing the color characteristics of light through a numerical value that corresponds to the color emitted by a light source, measured in degrees of Kelvin (K) on a scale from 1,000 to 10,000.
More accurately. The color temperature of a light source is the temperature of an ideal backbody that radiates light of comparable hue to that of the light source.
As such, the color temperature of a light source is a numerical measurement of its color appearance. It is based on the principle that any object will emit light if it is heated to a high enough temperature, and that the color of that light will shift in a predictable manner as the temperature is increased. The system is based on the color changes of a theoretical “blackbody radiator” as it is heated from a cold black to a white hot state.
So, why do we measure the hue of the light as a “temperature”? This was started in the late 1800s, when the British physicist William Kelvin heated a block of carbon. It glowed in the heat, producing a range of different colors at different temperatures. The black cube first produced a dim red light, increasing to a brighter yellow as the temperature went up, and eventually produced a bright blue-white glow at the highest temperatures. In his honor, Color Temperatures are measured in degrees Kelvin, which are a variation on Centigrade degrees. Instead of starting at the temperature water freezes, the Kelvin scale starts at “absolute zero,” which is -273 Centigrade.
More about black bodies here: https://www.pixelsham.com/2013/03/14/black-body-color
Details in the post
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Björn Ottosson – How software gets color wrong
Read more: Björn Ottosson – How software gets color wronghttps://bottosson.github.io/posts/colorwrong/
Most software around us today are decent at accurately displaying colors. Processing of colors is another story unfortunately, and is often done badly.
To understand what the problem is, let’s start with an example of three ways of blending green and magenta:
- Perceptual blend – A smooth transition using a model designed to mimic human perception of color. The blending is done so that the perceived brightness and color varies smoothly and evenly.
- Linear blend – A model for blending color based on how light behaves physically. This type of blending can occur in many ways naturally, for example when colors are blended together by focus blur in a camera or when viewing a pattern of two colors at a distance.
- sRGB blend – This is how colors would normally be blended in computer software, using sRGB to represent the colors.
Let’s look at some more examples of blending of colors, to see how these problems surface more practically. The examples use strong colors since then the differences are more pronounced. This is using the same three ways of blending colors as the first example.
Instead of making it as easy as possible to work with color, most software make it unnecessarily hard, by doing image processing with representations not designed for it. Approximating the physical behavior of light with linear RGB models is one easy thing to do, but more work is needed to create image representations tailored for image processing and human perception.
Also see:
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Polarised vs unpolarized filtering
A light wave that is vibrating in more than one plane is referred to as unpolarized light. …
Polarized light waves are light waves in which the vibrations occur in a single plane. The process of transforming unpolarized light into polarized light is known as polarization.
en.wikipedia.org/wiki/Polarizing_filter_(photography)
The most common use of polarized technology is to reduce lighting complexity on the subject.
Details such as glare and hard edges are not removed, but greatly reduced.This method is usually used in VFX to capture raw images with the least amount of specular diffusion or pollution, thus allowing artists to infer detail back through typical shading and rendering techniques and on demand.
Light reflected from a non-metallic surface becomes polarized; this effect is maximum at Brewster’s angle, about 56° from the vertical for common glass.
A polarizer rotated to pass only light polarized in the direction perpendicular to the reflected light will absorb much of it. This absorption allows glare reflected from, for example, a body of water or a road to be reduced. Reflections from shiny surfaces (e.g. vegetation, sweaty skin, water surfaces, glass) are also reduced. This allows the natural color and detail of what is beneath to come through. Reflections from a window into a dark interior can be much reduced, allowing it to be seen through. (The same effects are available for vision by using polarizing sunglasses.)
www.physicsclassroom.com/class/light/u12l1e.cfm
Some of the light coming from the sky is polarized (bees use this phenomenon for navigation). The electrons in the air molecules cause a scattering of sunlight in all directions. This explains why the sky is not dark during the day. But when looked at from the sides, the light emitted from a specific electron is totally polarized.[3] Hence, a picture taken in a direction at 90 degrees from the sun can take advantage of this polarization.
Use of a polarizing filter, in the correct direction, will filter out the polarized component of skylight, darkening the sky; the landscape below it, and clouds, will be less affected, giving a photograph with a darker and more dramatic sky, and emphasizing the clouds.
There are two types of polarizing filters readily available, linear and “circular”, which have exactly the same effect photographically. But the metering and auto-focus sensors in certain cameras, including virtually all auto-focus SLRs, will not work properly with linear polarizers because the beam splitters used to split off the light for focusing and metering are polarization-dependent.
Polarizing filters reduce the light passed through to the film or sensor by about one to three stops (2–8×) depending on how much of the light is polarized at the filter angle selected. Auto-exposure cameras will adjust for this by widening the aperture, lengthening the time the shutter is open, and/or increasing the ASA/ISO speed of the camera.
www.adorama.com/alc/nd-filter-vs-polarizer-what%25e2%2580%2599s-the-difference
Neutral Density (ND) filters help control image exposure by reducing the light that enters the camera so that you can have more control of your depth of field and shutter speed. Polarizers or polarizing filters work in a similar way, but the difference is that they selectively let light waves of a certain polarization pass through. This effect helps create more vivid colors in an image, as well as manage glare and reflections from water surfaces. Both are regarded as some of the best filters for landscape and travel photography as they reduce the dynamic range in high-contrast images, thus enabling photographers to capture more realistic and dramatic sceneries.
shopfelixgray.com/blog/polarized-vs-non-polarized-sunglasses/
www.eyebuydirect.com/blog/difference-polarized-nonpolarized-sunglasses/
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Björn Ottosson – OKlch color space
Björn Ottosson proposed OKlch in 2020 to create a color space that can closely mimic how color is perceived by the human eye, predicting perceived lightness, chroma, and hue.
The OK in OKLCH stands for Optimal Color.
- L: Lightness (the perceived brightness of the color)
- C: Chroma (the intensity or saturation of the color)
- H: Hue (the actual color, such as red, blue, green, etc.)
Also read:
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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
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PBR Color Reference List for Materials – by Grzegorz Baran
Read 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.“
LIGHTING
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What is the Light Field?
Read more: What is the Light Field?http://lightfield-forum.com/what-is-the-lightfield/
The light field consists of the total of all light rays in 3D space, flowing through every point and in every direction.
How to Record a Light Field
- a single, robotically controlled camera
- a rotating arc of cameras
- an array of cameras or camera modules
- a single camera or camera lens fitted with a microlens array
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Key/Fill ratios and scene composition using false colors
To measure the contrast ratio you will need a light meter. The process starts with you measuring the main source of light, or the key light.
Get a reading from the brightest area on the face of your subject. Then, measure the area lit by the secondary light, or fill light. To make sense of what you have just measured you have to understand that the information you have just gathered is in F-stops, a measure of light. With each additional F-stop, for example going one stop from f/1.4 to f/2.0, you create a doubling of light. The reverse is also true; moving one stop from f/8.0 to f/5.6 results in a halving of the light.
Let’s say you grabbed a measurement from your key light of f/8.0. Then, when you measured your fill light area, you get a reading of f/4.0. This will lead you to a contrast ratio of 4:1 because there are two stops between f/4.0 and f/8.0 and each stop doubles the amount of light. In other words, two stops x twice the light per stop = four times as much light at f/8.0 than at f/4.0.
theslantedlens.com/2017/lighting-ratios-photo-video/
Examples in the post
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Romain Chauliac – LightIt a lighting script for Maya and Arnold
Read more: Romain Chauliac – LightIt a lighting script for Maya and ArnoldLightIt is a script for Maya and Arnold that will help you and improve your lighting workflow.
Thanks to preset studio lighting components (lights, backdrop…), high quality studio scenes and HDRI library manager.https://www.artstation.com/artwork/393emJ
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Free HDRI libraries
Read more: Free HDRI librariesnoahwitchell.com
http://www.noahwitchell.com/freebieslocationtextures.com
https://locationtextures.com/panoramas/maxroz.com
https://www.maxroz.com/hdri/listHDRI Haven
https://hdrihaven.com/Poly Haven
https://polyhaven.com/hdrisDomeble
https://www.domeble.com/IHDRI
https://www.ihdri.com/HDRMaps
https://hdrmaps.com/NoEmotionHdrs.net
http://noemotionhdrs.net/hdrday.htmlOpenFootage.net
https://www.openfootage.net/hdri-panorama/HDRI-hub
https://www.hdri-hub.com/hdrishop/hdri.zwischendrin
https://www.zwischendrin.com/en/browse/hdriLonger list here:
https://cgtricks.com/list-sites-free-hdri/
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Photography basics: Exposure Value vs Photographic Exposure vs Il/Luminance vs Pixel luminance measurements
Read more: Photography basics: Exposure Value vs Photographic Exposure vs Il/Luminance vs Pixel luminance measurementsAlso see: https://www.pixelsham.com/2015/05/16/how-aperture-shutter-speed-and-iso-affect-your-photos/
In photography, exposure value (EV) is a number that represents a combination of a camera’s shutter speed and f-number, such that all combinations that yield the same exposure have the same EV (for any fixed scene luminance).
The EV concept was developed in an attempt to simplify choosing among combinations of equivalent camera settings. Although all camera settings with the same EV nominally give the same exposure, they do not necessarily give the same picture. EV is also used to indicate an interval on the photographic exposure scale. 1 EV corresponding to a standard power-of-2 exposure step, commonly referred to as a stop
EV 0 corresponds to an exposure time of 1 sec and a relative aperture of f/1.0. If the EV is known, it can be used to select combinations of exposure time and f-number.
Note EV does not equal to photographic exposure. Photographic Exposure is defined as how much light hits the camera’s sensor. It depends on the camera settings mainly aperture and shutter speed. Exposure value (known as EV) is a number that represents the exposure setting of the camera.
Thus, strictly, EV is not a measure of luminance (indirect or reflected exposure) or illuminance (incidental exposure); rather, an EV corresponds to a luminance (or illuminance) for which a camera with a given ISO speed would use the indicated EV to obtain the nominally correct exposure. Nonetheless, it is common practice among photographic equipment manufacturers to express luminance in EV for ISO 100 speed, as when specifying metering range or autofocus sensitivity.
The exposure depends on two things: how much light gets through the lenses to the camera’s sensor and for how long the sensor is exposed. The former is a function of the aperture value while the latter is a function of the shutter speed. Exposure value is a number that represents this potential amount of light that could hit the sensor. It is important to understand that exposure value is a measure of how exposed the sensor is to light and not a measure of how much light actually hits the sensor. The exposure value is independent of how lit the scene is. For example a pair of aperture value and shutter speed represents the same exposure value both if the camera is used during a very bright day or during a dark night.
Each exposure value number represents all the possible shutter and aperture settings that result in the same exposure. Although the exposure value is the same for different combinations of aperture values and shutter speeds the resulting photo can be very different (the aperture controls the depth of field while shutter speed controls how much motion is captured).
EV 0.0 is defined as the exposure when setting the aperture to f-number 1.0 and the shutter speed to 1 second. All other exposure values are relative to that number. Exposure values are on a base two logarithmic scale. This means that every single step of EV – plus or minus 1 – represents the exposure (actual light that hits the sensor) being halved or doubled.
https://www.streetdirectory.com/travel_guide/141307/photography/exposure_value_ev_and_exposure_compensation.html
Formula
https://en.wikipedia.org/wiki/Exposure_value
https://www.scantips.com/lights/math.html
which means 2EV = N² / t
where
- N is the relative aperture (f-number) Important: Note that f/stop values must first be squared in most calculations
- t is the exposure time (shutter speed) in seconds
EV 0 corresponds to an exposure time of 1 sec and an aperture of f/1.0.
Example: If f/16 and 1/4 second, then this is:
(N² / t) = (16 × 16 ÷ 1/4) = (16 × 16 × 4) = 1024.
Log₂(1024) is EV 10. Meaning, 210 = 1024.
Collecting photographic exposure using Light Meters
The exposure meter in the camera does not know whether the subject itself is bright or not. It simply measures the amount of light that comes in, and makes a guess based on that. The camera will aim for 18% gray, meaning if you take a photo of an entirely white surface, and an entirely black surface you should get two identical images which both are gray (at least in theory)
https://en.wikipedia.org/wiki/Light_meter
For reflected-light meters, camera settings are related to ISO speed and subject luminance by the reflected-light exposure equation:
where
- N is the relative aperture (f-number)
- t is the exposure time (“shutter speed”) in seconds
- L is the average scene luminance
- S is the ISO arithmetic speed
- K is the reflected-light meter calibration constant
For incident-light meters, camera settings are related to ISO speed and subject illuminance by the incident-light exposure equation:
where
- E is the illuminance (in lux)
- C is the incident-light meter calibration constant
Two values for K are in common use: 12.5 (Canon, Nikon, and Sekonic) and 14 (Minolta, Kenko, and Pentax); the difference between the two values is approximately 1/6 EV.
For C a value of 250 is commonly used.Nonetheless, it is common practice among photographic equipment manufacturers to also express luminance in EV for ISO 100 speed. Using K = 12.5, the relationship between EV at ISO 100 and luminance L is then :
L = 2(EV-3)
The situation with incident-light meters is more complicated than that for reflected-light meters, because the calibration constant C depends on the sensor type. Illuminance is measured with a flat sensor; a typical value for C is 250 with illuminance in lux. Using C = 250, the relationship between EV at ISO 100 and illuminance E is then :
E = 2.5 * 2(EV)
https://nofilmschool.com/2018/03/want-easier-and-faster-way-calculate-exposure-formula
Three basic factors go into the exposure formula itself instead: aperture, shutter, and ISO. Plus a light meter calibration constant.
f-stop²/shutter (in seconds) = lux * ISO/C
If you at least know four of those variables, you’ll be able to calculate the missing value.
So, say you want to figure out how much light you’re going to need in order to shoot at a certain f-stop. Well, all you do is plug in your values (you should know the f-stop, ISO, and your light meter calibration constant) into the formula below:
lux = C (f-stop²/shutter (in seconds))/ISO
Exposure Value Calculator:
https://snapheadshots.com/resources/exposure-and-light-calculator
https://www.scantips.com/lights/exposurecalc.html
https://www.pointsinfocus.com/tools/exposure-settings-ev-calculator/#google_vignette
From that perspective, an exposure stop is a measurement of Exposure and provides a universal linear scale to measure the increase and decrease in light, exposed to the image sensor, due to changes in shutter speed, iso & f-stop.
+-1 stop is a doubling or halving of the amount of light let in when taking a photo.
1 EV is just another way to say one stop of exposure change.One major use of EV (Exposure Value) is just to measure any change of exposure, where one EV implies a change of one stop of exposure. Like when we compensate our picture in the camera.
If the picture comes out too dark, our manual exposure could correct the next one by directly adjusting one of the three exposure controls (f/stop, shutter speed, or ISO). Or if using camera automation, the camera meter is controlling it, but we might apply +1 EV exposure compensation (or +1 EV flash compensation) to make the result goal brighter, as desired. This use of 1 EV is just another way to say one stop of exposure change.
On a perfect day the difference from sampling the sky vs the sun exposure with diffusing spot meters is about 3.2 exposure difference.
~15.4 EV for the sun ~12.2 EV for the sky
That is as a ballpark. All still influenced by surroundings, accuracy parameters, fov of the sensor…
EV calculator
https://www.scantips.com/lights/evchart.html#calc
http://www.fredparker.com/ultexp1.htm
Exposure value is basically used to indicate an interval on the photographic exposure scale, with a difference of 1 EV corresponding to a standard power-of-2 exposure step, also commonly referred to as a “stop”.
https://contrastly.com/a-guide-to-understanding-exposure-value-ev/
Retrieving photographic exposure from an image
All you can hope to measure with your camera and some images is the relative reflected luminance. Even if you have the camera settings. https://en.wikipedia.org/wiki/Relative_luminance
If you REALLY want to know the amount of light in absolute radiometric units, you’re going to need to use some kind of absolute light meter or measured light source to calibrate your camera. For references on how to do this, see: Section 2.5 Obtaining Absolute Radiance from http://www.pauldebevec.com/Research/HDR/debevec-siggraph97.pdf
IF you are still trying to gauge relative brightness, the level of the sun in Nuke can vary, but it should be in the thousands. Ie: between 30,000 and 65,0000 rgb value depending on time of the day, season and atmospherics.
The values for a 12 o’clock sun, with the sun sampled at EV 15.5 (shutter 1/30, ISO 100, F22) is 32.000 RGB max values (or 32,000 pixel luminance).
The thing to keep an eye for is the level of contrast between sunny side/fill side. The terminator should be quite obvious, there can be up to 3 stops difference between fill/key in sunny lit objects.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.
Note: make sure to set your Nuke read node to ‘raw data’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.
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.
If you are trying to gauge the EV from the pixel luminance in the image:
– Setting the center f-stop to 0 means that in a neutral plate, the middle 18% gray will equal to exposure value 0.
– So if EV 0 = 0.18 middle gray in nuke which equal to a pixel luminance of 0.18, doubling that value, doubles the EV..18 pixel luminance = 0EV .36 pixel luminance = 1EV .72 pixel luminance = 2EV 1.46 pixel luminance = 3EV ...
This is a Geometric Progression function: xn = ar(n-1)
The most basic example of this function is 1,2,4,8,16,32,… The sequence starts at 1 and doubles each time, so
- a=1 (the first term)
- r=2 (the “common ratio” between terms is a doubling)
And we get:
{a, ar, ar2, ar3, … }
= {1, 1×2, 1×22, 1×23, … }
= {1, 2, 4, 8, … }
In this example the function translates to: n = 2(n-1)
You can graph this curve through this expression: x = 2(y-1) :You can go back and forth between the two values through a geometric progression function and a log function:
(Note: in a spreadsheet this is: = POWER(2; cell# -1) and =LOG(cell#, 2)+1) )
2(y-1) log2(x)+1 x y 1 1 2 2 4 3 8 4 16 5 32 6 64 7 128 8 256 9 512 10 1024 11 2048 12 4096 13 Translating this into a geometric progression between an image pixel luminance and EV:
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Photography basics: How Exposure Stops (Aperture, Shutter Speed, and ISO) Affect Your Photos – cheat sheet cards
Also see:
https://www.pixelsham.com/2018/11/22/exposure-value-measurements/
https://www.pixelsham.com/2016/03/03/f-stop-vs-t-stop/
An exposure stop is a unit measurement of Exposure as such it provides a universal linear scale to measure the increase and decrease in light, exposed to the image sensor, due to changes in shutter speed, iso and f-stop.
+-1 stop is a doubling or halving of the amount of light let in when taking a photo
1 EV (exposure value) is just another way to say one stop of exposure change.
https://www.photographymad.com/pages/view/what-is-a-stop-of-exposure-in-photography
Same applies to shutter speed, iso and aperture.
Doubling or halving your shutter speed produces an increase or decrease of 1 stop of exposure.
Doubling or halving your iso speed produces an increase or decrease of 1 stop of exposure.Because of the way f-stop numbers are calculated (ratio of focal length/lens diameter, where focal length is the distance between the lens and the sensor), an f-stop doesn’t relate to a doubling or halving of the value, but to the doubling/halving of the area coverage of a lens in relation to its focal length. And as such, to a multiplying or dividing by 1.41 (the square root of 2). For example, going from f/2.8 to f/4 is a decrease of 1 stop because 4 = 2.8 * 1.41. Changing from f/16 to f/11 is an increase of 1 stop because 11 = 16 / 1.41.
A wider aperture means that light proceeding from the foreground, subject, and background is entering at more oblique angles than the light entering less obliquely.
Consider that absolutely everything is bathed in light, therefore light bouncing off of anything is effectively omnidirectional. Your camera happens to be picking up a tiny portion of the light that’s bouncing off into infinity.
Now consider that the wider your iris/aperture, the more of that omnidirectional light you’re picking up:
When you have a very narrow iris you are eliminating a lot of oblique light. Whatever light enters, from whatever distance, enters moderately parallel as a whole. When you have a wide aperture, much more light is entering at a multitude of angles. Your lens can only focus the light from one depth – the foreground/background appear blurred because it cannot be focused on.
https://frankwhitephotography.com/index.php?id=28:what-is-a-stop-in-photography
The great thing about stops is that they give us a way to directly compare shutter speed, aperture diameter, and ISO speed. This means that we can easily swap these three components about while keeping the overall exposure the same.
http://lifehacker.com/how-aperture-shutter-speed-and-iso-affect-pictures-sh-1699204484
https://www.techradar.com/how-to/the-exposure-triangle
https://www.videoschoolonline.com/what-is-an-exposure-stop
Note. All three of these measurements (aperture, shutter, iso) have full stops, half stops and third stops, but if you look at the numbers they aren’t always consistent. For example, a one third stop between ISO100 and ISO 200 would be ISO133, yet most cameras are marked at ISO125.
Third-stops are especially important as they’re the increment that most cameras use for their settings. These are just imaginary divisions in each stop.
From a practical standpoint manufacturers only standardize the full stops, meaning that while they try and stay somewhat consistent there is some rounding up going on between the smaller numbers.Note that ND Filters directly modify the exposure triangle.
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HDRI Median Cut plugin
www.hdrlabs.com/picturenaut/plugins.html
Note. The Median Cut algorithm is typically used for color quantization, which involves reducing the number of colors in an image while preserving its visual quality. It doesn’t directly provide a way to identify the brightest areas in an image. However, if you’re interested in identifying the brightest areas, you might want to look into other methods like thresholding, histogram analysis, or edge detection, through openCV for example.
Here is an openCV example:
# bottom left coordinates = 0,0 import numpy as np import cv2 # Load the HDR or EXR image image = cv2.imread('your_image_path.exr', cv2.IMREAD_UNCHANGED) # Load as-is without modification # Calculate the luminance from the HDR channels (assuming RGB format) luminance = np.dot(image[..., :3], [0.299, 0.587, 0.114]) # Set a threshold value based on estimated EV threshold_value = 2.4 # Estimated threshold value based on 4.8 EV # Apply the threshold to identify bright areas # The
luminance
array contains the calculated luminance values for each pixel in the image. # Thethreshold_value
is a user-defined value that represents a cutoff point, separating "bright" and "dark" areas in terms of perceived luminance.thresholded = (luminance > threshold_value) * 255 # Convert the thresholded image to uint8 for contour detection thresholded = thresholded.astype(np.uint8) # Find contours of the bright areas contours, _ = cv2.findContours(thresholded, cv2.RETR_EXTERNAL, cv2.CHAIN_APPROX_SIMPLE) # Create a list to store the bounding boxes of bright areas bright_areas = [] # Iterate through contours and extract bounding boxes for contour in contours: x, y, w, h = cv2.boundingRect(contour) # Adjust y-coordinate based on bottom-left origin y_bottom_left_origin = image.shape[0] - (y + h) bright_areas.append((x, y_bottom_left_origin, x + w, y_bottom_left_origin + h)) # Store as (x1, y1, x2, y2) # Print the identified bright areas print("Bright Areas (x1, y1, x2, y2):") for area in bright_areas: print(area)
More details
Luminance and Exposure in an EXR Image:
- An EXR (Extended Dynamic Range) image format is often used to store high dynamic range (HDR) images that contain a wide range of luminance values, capturing both dark and bright areas.
- Luminance refers to the perceived brightness of a pixel in an image. In an RGB image, luminance is often calculated using a weighted sum of the red, green, and blue channels, where different weights are assigned to each channel to account for human perception.
- In an EXR image, the pixel values can represent radiometrically accurate scene values, including actual radiance or irradiance levels. These values are directly related to the amount of light emitted or reflected by objects in the scene.
The luminance line is calculating the luminance of each pixel in the image using a weighted sum of the red, green, and blue channels. The three float values [0.299, 0.587, 0.114] are the weights used to perform this calculation.
These weights are based on the concept of luminosity, which aims to approximate the perceived brightness of a color by taking into account the human eye’s sensitivity to different colors. The values are often derived from the NTSC (National Television System Committee) standard, which is used in various color image processing operations.
Here’s the breakdown of the float values:
- 0.299: Weight for the red channel.
- 0.587: Weight for the green channel.
- 0.114: Weight for the blue channel.
The weighted sum of these channels helps create a grayscale image where the pixel values represent the perceived brightness. This technique is often used when converting a color image to grayscale or when calculating luminance for certain operations, as it takes into account the human eye’s sensitivity to different colors.
For the threshold, remember that the exact relationship between EV values and pixel values can depend on the tone-mapping or normalization applied to the HDR image, as well as the dynamic range of the image itself.
To establish a relationship between exposure and the threshold value, you can consider the relationship between linear and logarithmic scales:
- Linear and Logarithmic Scales:
- Exposure values in an EXR image are often represented in logarithmic scales, such as EV (exposure value). Each increment in EV represents a doubling or halving of the amount of light captured.
- Threshold values for luminance thresholding are usually linear, representing an actual luminance level.
- Conversion Between Scales:
- To establish a mathematical relationship, you need to convert between the logarithmic exposure scale and the linear threshold scale.
- One common method is to use a power function. For instance, you can use a power function to convert EV to a linear intensity value.
threshold_value = base_value * (2 ** EV)
Here,
EV
is the exposure value,base_value
is a scaling factor that determines the relationship between EV and threshold_value, and2 ** EV
is used to convert the logarithmic EV to a linear intensity value. - Choosing the Base Value:
- The
base_value
factor should be determined based on the dynamic range of your EXR image and the specific luminance values you are dealing with. - You may need to experiment with different values of
base_value
to achieve the desired separation of bright areas from the rest of the image.
- The
Let’s say you have an EXR image with a dynamic range of 12 EV, which is a common range for many high dynamic range images. In this case, you want to set a threshold value that corresponds to a certain number of EV above the middle gray level (which is often considered to be around 0.18).
Here’s an example of how you might determine a
base_value
to achieve this:# Define the dynamic range of the image in EV dynamic_range = 12 # Choose the desired number of EV above middle gray for thresholding desired_ev_above_middle_gray = 2 # Calculate the threshold value based on the desired EV above middle gray threshold_value = 0.18 * (2 ** (desired_ev_above_middle_gray / dynamic_range)) print("Threshold Value:", threshold_value)
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