COMPOSITION
- 
HuggingFace ai-comic-factory – a FREE AI Comic Book CreatorRead more: HuggingFace ai-comic-factory – a FREE AI Comic Book Creatorhttps://huggingface.co/spaces/jbilcke-hf/ai-comic-factory this is the epic story of a group of talented digital artists trying to overcame daily technical challenges to achieve incredibly photorealistic projects of monsters and aliens 
- 
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.” 
- 
Photography basics: Camera Aspect Ratio, Sensor Size and Depth of Field – resolutionsRead more: Photography basics: Camera Aspect Ratio, Sensor Size and Depth of Field – resolutionshttp://www.shutterangle.com/2012/cinematic-look-aspect-ratio-sensor-size-depth-of-field/ http://www.shutterangle.com/2012/film-video-aspect-ratio-artistic-choice/ 
- 
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?
DESIGN
- 
AI Dresses by MaryAnnaRead more: AI Dresses by MaryAnnahttps://www.linkedin.com/feed/update/urn:li:activity:7015985798567067648 Created by Discord user: @MaryAnna 
COLOR
- 
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
 
- 
The Color of Infinite TemperatureRead more: The Color of Infinite TemperatureThis is the color of something infinitely hot.  Of course you’d instantly be fried by gamma rays of arbitrarily high frequency, but this would be its spectrum in the visible range. johncarlosbaez.wordpress.com/2022/01/16/the-color-of-infinite-temperature/ This is also the color of a typical neutron star. They’re so hot they look the same. 
 It’s also the color of the early Universe!This was worked out by David Madore.  The color he got is sRGB(148,177,255). 
 www.htmlcsscolor.com/hex/94B1FFAnd according to the experts who sip latte all day and make up names for colors, this color is called ‘Perano’. 
- 
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. 
- 
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
  
LIGHTING
- 
What’s the Difference Between Ray Casting, Ray Tracing, Path Tracing and Rasterization? Physical light tracing…Read more: What’s the Difference Between Ray Casting, Ray Tracing, Path Tracing and Rasterization? Physical light tracing…RASTERIZATION 
 Rasterisation (or rasterization) is the task of taking the information described in a vector graphics format OR the vertices of triangles making 3D shapes and converting them into a raster image (a series of pixels, dots or lines, which, when displayed together, create the image which was represented via shapes), or in other words “rasterizing” vectors or 3D models onto a 2D plane for display on a computer screen.For each triangle of a 3D shape, you project the corners of the triangle on the virtual screen with some math (projective geometry). Then you have the position of the 3 corners of the triangle on the pixel screen. Those 3 points have texture coordinates, so you know where in the texture are the 3 corners. The cost is proportional to the number of triangles, and is only a little bit affected by the screen resolution. In computer graphics, a raster graphics or bitmap image is a dot matrix data structure that represents a generally rectangular grid of pixels (points of color), viewable via a monitor, paper, or other display medium. With rasterization, objects on the screen are created from a mesh of virtual triangles, or polygons, that create 3D models of objects. A lot of information is associated with each vertex, including its position in space, as well as information about color, texture and its “normal,” which is used to determine the way the surface of an object is facing. Computers then convert the triangles of the 3D models into pixels, or dots, on a 2D screen. Each pixel can be assigned an initial color value from the data stored in the triangle vertices. Further pixel processing or “shading,” including changing pixel color based on how lights in the scene hit the pixel, and applying one or more textures to the pixel, combine to generate the final color applied to a pixel. The main advantage of rasterization is its speed. However, rasterization is simply the process of computing the mapping from scene geometry to pixels and does not prescribe a particular way to compute the color of those pixels. So it cannot take shading, especially the physical light, into account and it cannot promise to get a photorealistic output. That’s a big limitation of rasterization. There are also multiple problems: - If you have two triangles one is behind the other, you will draw twice all the pixels. you only keep the pixel from the triangle that is closer to you (Z-buffer), but you still do the work twice. 
- The borders of your triangles are jagged as it is hard to know if a pixel is in the triangle or out. You can do some smoothing on those, that is anti-aliasing. 
- You have to handle every triangles (including the ones behind you) and then see that they do not touch the screen at all. (we have techniques to mitigate this where we only look at triangles that are in the field of view) 
- Transparency is hard to handle (you can’t just do an average of the color of overlapping transparent triangles, you have to do it in the right order) 
 
- 
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.   
COLLECTIONS
| Featured AI
| Design And Composition 
| Explore posts  
POPULAR SEARCHES
unreal | pipeline | virtual production | free | learn | photoshop | 360 | macro | google | nvidia | resolution | open source | hdri | real-time | photography basics | nuke
FEATURED POSTS
- 
Embedding frame ranges into Quicktime movies with FFmpeg
- 
STOP FCC – SAVE THE FREE NET
- 
RawTherapee – a free, open source, cross-platform raw image and HDRi processing program
- 
Godot Cheat Sheets
- 
HDRI Median Cut plugin
- 
Yann Lecun: Meta AI, Open Source, Limits of LLMs, AGI & the Future of AI | Lex Fridman Podcast #416
- 
SourceTree vs Github Desktop – Which one to use
- 
Sensitivity of human eye
Social Links
DISCLAIMER – Links and images on this website may be protected by the respective owners’ copyright. All data submitted by users through this site shall be treated as freely available to share.


























































