COMPOSITION
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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/ 
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Composition – 5 tips for creating perfect cinematic lighting and making your work look stunningRead more: Composition – 5 tips for creating perfect cinematic lighting and making your work look stunninghttp://www.diyphotography.net/5-tips-creating-perfect-cinematic-lighting-making-work-look-stunning/ 1. Learn the rules of lighting 2. Learn when to break the rules 3. Make your key light larger 4. Reverse keying 5. Always be backlighting 
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Mastering Camera Shots and Angles: A Guide for FilmmakersRead more: Mastering Camera Shots and Angles: A Guide for Filmmakershttps://website.ltx.studio/blog/mastering-camera-shots-and-angles 1. Extreme Wide Shot  2. Wide Shot  3. Medium Shot  4. Close Up  5. Extreme Close Up  
DESIGN
COLOR
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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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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’. 
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Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by AllegorithmicRead more: Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by Allegorithmicacademy.substance3d.com/courses/the-pbr-guide-part-1 academy.substance3d.com/courses/the-pbr-guide-part-2 Local copy:
 
LIGHTING
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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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NVidia DiffusionRenderer – Neural Inverse and Forward Rendering with Video Diffusion Models. How NVIDIA reimagined relightingRead more: NVidia DiffusionRenderer – Neural Inverse and Forward Rendering with Video Diffusion Models. How NVIDIA reimagined relightinghttps://www.fxguide.com/quicktakes/diffusing-reality-how-nvidia-reimagined-relighting/ https://research.nvidia.com/labs/toronto-ai/DiffusionRenderer/ 
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Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?Read more: Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?www.colour-science.org/posts/the-colorchecker-considered-mostly-harmless/ “Unless you have all the relevant spectral measurements, a colour rendition chart should not be used to perform colour-correction of camera imagery but only for white balancing and relative exposure adjustments.” “Using a colour rendition chart for colour-correction might dramatically increase error if the scene light source spectrum is different from the illuminant used to compute the colour rendition chart’s reference values.” “other factors make using a colour rendition chart unsuitable for camera calibration: – Uncontrolled geometry of the colour rendition chart with the incident illumination and the camera. 
 – Unknown sample reflectances and ageing as the colour of the samples vary with time.
 – Low samples count.
 – Camera noise and flare.
 – Etc…“Those issues are well understood in the VFX industry, and when receiving plates, we almost exclusively use colour rendition charts to white balance and perform relative exposure adjustments, i.e. plate neutralisation.” 
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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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Ethan Roffler interviews CG Supervisor Daniele TostiRead more: Ethan Roffler interviews CG Supervisor Daniele TostiEthan Roffler 
 I recently had the honor of interviewing this VFX genius and gained great insight into what it takes to work in the entertainment industry. Keep in mind, these questions are coming from an artist’s perspective but can be applied to any creative individual looking for some wisdom from a professional. So grab a drink, sit back, and enjoy this fun and insightful conversation. 
 Ethan
 To start, I just wanted to say thank you so much for taking the time for this interview!Daniele 
 My pleasure.
 When I started my career I struggled to find help. Even people in the industry at the time were not that helpful. Because of that, I decided very early on that I was going to do exactly the opposite. I spend most of my weekends talking or helping students. ;)Ethan (more…)
 That’s awesome! I have also come across the same struggle! Just a heads up, this will probably be the most informal interview you’ll ever have haha! Okay, so let’s start with a small introduction!
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How to Direct and Edit a Fight Scene for Rhythm and PacingRead more: How to Direct and Edit a Fight Scene for Rhythm and Pacingwww.premiumbeat.com/blog/directing-fight-scene-cinematography/ 1- Frame the action 2- Stage the action 3- Use camera movements 4- Set a rhythm 5- Control the speed of the action 
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Unity 3D resourcesRead more: Unity 3D resources http://answers.unity3d.com/questions/12321/how-can-i-start-learning-unity-fast-list-of-tutori.html If you have no previous experience with Unity, start with these six video tutorials which give a quick overview of the Unity interface and some important features http://unity3d.com/support/documentation/video/ 
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