COMPOSITION
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Photography basics: Camera Aspect Ratio, Sensor Size and Depth of Field – resolutions
http://www.shutterangle.com/2012/cinematic-look-aspect-ratio-sensor-size-depth-of-field/
http://www.shutterangle.com/2012/film-video-aspect-ratio-artistic-choice/
DESIGN
COLOR
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No one could see the colour blue until modern times
https://www.businessinsider.com/what-is-blue-and-how-do-we-see-color-2015-2
The way that humans see the world… until we have a way to describe something, even something so fundamental as a colour, we may not even notice that something it’s there.
Ancient languages didn’t have a word for blue — not Greek, not Chinese, not Japanese, not Hebrew, not Icelandic cultures. And without a word for the colour, there’s evidence that they may not have seen it at all.
https://www.wnycstudios.org/story/211119-colors
Every language first had a word for black and for white, or dark and light. The next word for a colour to come into existence — in every language studied around the world — was red, the colour of blood and wine.
After red, historically, yellow appears, and later, green (though in a couple of languages, yellow and green switch places). The last of these colours to appear in every language is blue.
The only ancient culture to develop a word for blue was the Egyptians — and as it happens, they were also the only culture that had a way to produce a blue dye.
https://mymodernmet.com/shades-of-blue-color-history/
https://www.msn.com/en-us/news/technology/scientists-recreate-lost-recipes-for-a-5-000-year-old-egyptian-blue-dye/ar-AA1FXcj1
Assessment of process variability and color in synthesized and ancient Egyptian blue pigments | npj Heritage ScienceThe approximately 5,000-year-old dye wasn’t a single color, but instead encompassed a range of hues, from deep blues to duller grays and greens. Artisans first crafted Egyptian blue during the Fourth Dynasty (roughly 2613 to 2494 BCE) from recipes reliant on calcium-copper silicate. These techniques were later adopted by Romans in lieu of more expensive materials like lapis lazuli and turquoise. But the additional ingredient lists were lost to history by the time of the Renaissance.
McCloy’s team confirmed that cuprorivaite—the naturally occurring mineral equivalent to Egyptian blue—remains the primary color influence in each hue. Despite the presence of other components, Egyptian blue appears as a uniform color after the cuprorivaite becomes encased in colorless particles such as silicate during the heating process.Considered to be the first ever synthetically produced color pigment, Egyptian blue (also known as cuprorivaite) was created around 2,200 B.C. It was made from ground limestone mixed with sand and a copper-containing mineral, such as azurite or malachite, which was then heated between 1470 and 1650°F. The result was an opaque blue glass which then had to be crushed and combined with thickening agents such as egg whites to create a long-lasting paint or glaze.
If you think about it, blue doesn’t appear much in nature — there aren’t animals with blue pigments (except for one butterfly, Obrina Olivewing, all animals generate blue through light scattering), blue eyes are rare (also blue through light scattering), and blue flowers are mostly human creations. There is, of course, the sky, but is that really blue?
So before we had a word for it, did people not naturally see blue? Do you really see something if you don’t have a word for it?
A researcher named Jules Davidoff traveled to Namibia to investigate this, where he conducted an experiment with the Himba tribe, who speak a language that has no word for blue or distinction between blue and green. When shown a circle with 11 green squares and one blue, they couldn’t pick out which one was different from the others.
When looking at a circle of green squares with only one slightly different shade, they could immediately spot the different one. Can you?
Davidoff says that without a word for a colour, without a way of identifying it as different, it’s much harder for us to notice what’s unique about it — even though our eyes are physically seeing the blocks it in the same way.
Further research brought to wider discussions about color perception in humans. Everything that we make is based on the fact that humans are trichromatic. The television only has 3 colors. Our color printers have 3 different colors. But some people, and in specific some women seemed to be more sensible to color differences… mainly because they’re just more aware or – because of the job that they do.
Eventually this brought to the discovery of a small percentage of the population, referred to as tetrachromats, which developed an extra cone sensitivity to yellow, likely due to gene modifications.
The interesting detail about these is that even between tetrachromats, only the ones that had a reason to develop, label and work with extra color sensitivity actually developed the ability to use their native skills.
So before blue became a common concept, maybe humans saw it. But it seems they didn’t know they were seeing it.
If you see something yet can’t see it, does it exist? Did colours come into existence over time? Not technically, but our ability to notice them… may have…
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FXGuide – ACES 2.0 with ILM’s Alex Fry
https://draftdocs.acescentral.com/background/whats-new/
ACES 2.0 is the second major release of the components that make up the ACES system. The most significant change is a new suite of rendering transforms whose design was informed by collected feedback and requests from users of ACES 1. The changes aim to improve the appearance of perceived artifacts and to complete previously unfinished components of the system, resulting in a more complete, robust, and consistent product.
Highlights of the key changes in ACES 2.0 are as follows:
- New output transforms, including:
- A less aggressive tone scale
- More intuitive controls to create custom outputs to non-standard displays
- Robust gamut mapping to improve perceptual uniformity
- Improved performance of the inverse transforms
- Enhanced AMF specification
- An updated specification for ACES Transform IDs
- OpenEXR compression recommendations
- Enhanced tools for generating Input Transforms and recommended procedures for characterizing prosumer cameras
- Look Transform Library
- Expanded documentation
Rendering Transform
The most substantial change in ACES 2.0 is a complete redesign of the rendering transform.
ACES 2.0 was built as a unified system, rather than through piecemeal additions. Different deliverable outputs “match” better and making outputs to display setups other than the provided presets is intended to be user-driven. The rendering transforms are less likely to produce undesirable artifacts “out of the box”, which means less time can be spent fixing problematic images and more time making pictures look the way you want.
Key design goals
- Improve consistency of tone scale and provide an easy to use parameter to allow for outputs between preset dynamic ranges
- Minimize hue skews across exposure range in a region of same hue
- Unify for structural consistency across transform type
- Easy to use parameters to create outputs other than the presets
- Robust gamut mapping to improve harsh clipping artifacts
- Fill extents of output code value cube (where appropriate and expected)
- Invertible – not necessarily reversible, but Output > ACES > Output round-trip should be possible
- Accomplish all of the above while maintaining an acceptable “out-of-the box” rendering
- New output transforms, including:
LIGHTING
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IES Light Profiles and editing software
Read more: IES Light Profiles and editing softwarehttp://www.derekjenson.com/3d-blog/ies-light-profiles
https://ieslibrary.com/en/browse#ies
https://leomoon.com/store/shaders/ies-lights-pack
https://docs.arnoldrenderer.com/display/a5afmug/ai+photometric+light
IES profiles are useful for creating life-like lighting, as they can represent the physical distribution of light from any light source.
The IES format was created by the Illumination Engineering Society, and most lighting manufacturers provide IES profile for the lights they manufacture.
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DiffusionLight: HDRI Light Probes for Free by Painting a Chrome Ball
Read more: DiffusionLight: HDRI Light Probes for Free by Painting a Chrome Ballhttps://diffusionlight.github.io/
https://github.com/DiffusionLight/DiffusionLight
https://github.com/DiffusionLight/DiffusionLight?tab=MIT-1-ov-file#readme
https://colab.research.google.com/drive/15pC4qb9mEtRYsW3utXkk-jnaeVxUy-0S
“a simple yet effective technique to estimate lighting in a single input image. Current techniques rely heavily on HDR panorama datasets to train neural networks to regress an input with limited field-of-view to a full environment map. However, these approaches often struggle with real-world, uncontrolled settings due to the limited diversity and size of their datasets. To address this problem, we leverage diffusion models trained on billions of standard images to render a chrome ball into the input image. Despite its simplicity, this task remains challenging: the diffusion models often insert incorrect or inconsistent objects and cannot readily generate images in HDR format. Our research uncovers a surprising relationship between the appearance of chrome balls and the initial diffusion noise map, which we utilize to consistently generate high-quality chrome balls. We further fine-tune an LDR difusion model (Stable Diffusion XL) with LoRA, enabling it to perform exposure bracketing for HDR light estimation. Our method produces convincing light estimates across diverse settings and demonstrates superior generalization to in-the-wild scenarios.”
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Outpost VFX lighting tips
Read more: Outpost VFX lighting tipswww.outpost-vfx.com/en/news/18-pro-tips-and-tricks-for-lighting
Get as much information regarding your plate lighting as possible
- Always use a reference
- Replicate what is happening in real life
- Invest into a solid HDRI
- Start Simple
- Observe real world lighting, photography and cinematography
- Don’t neglect the theory
- Learn the difference between realism and photo-realism.
- Keep your scenes organised
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PTGui 13 beta adds control through a Patch Editor
Additions:
- Patch Editor (PTGui Pro)
- DNG output
- Improved RAW / DNG handling
- JPEG 2000 support
- Performance improvements
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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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