COMPOSITION
DESIGN
COLOR
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The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t See
Read 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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About color: What is a LUT
Read more: About color: What is a LUThttp://www.lightillusion.com/luts.html
https://www.shutterstock.com/blog/how-use-luts-color-grading
A LUT (Lookup Table) is essentially the modifier between two images, the original image and the displayed image, based on a mathematical formula. Basically conversion matrices of different complexities. There are different types of LUTS – viewing, transform, calibration, 1D and 3D.
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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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Scientists claim to have discovered ‘new colour’ no one has seen before: Olo
https://www.bbc.com/news/articles/clyq0n3em41o
By stimulating specific cells in the retina, the participants claim to have witnessed a blue-green colour that scientists have called “olo”, but some experts have said the existence of a new colour is “open to argument”.
The findings, published in the journal Science Advances on Friday, have been described by the study’s co-author, Prof Ren Ng from the University of California, as “remarkable”.
(A) System inputs. (i) Retina map of 103 cone cells preclassified by spectral type (7). (ii) Target visual percept (here, a video of a child, see movie S1 at 1:04). (iii) Infrared cellular-scale imaging of the retina with 60-frames-per-second rolling shutter. Fixational eye movement is visible over the three frames shown.
(B) System outputs. (iv) Real-time per-cone target activation levels to reproduce the target percept, computed by: extracting eye motion from the input video relative to the retina map; identifying the spectral type of every cone in the field of view; computing the per-cone activation the target percept would have produced. (v) Intensities of visible-wavelength 488-nm laser microdoses at each cone required to achieve its target activation level.
(C) Infrared imaging and visible-wavelength stimulation are physically accomplished in a raster scan across the retinal region using AOSLO. By modulating the visible-wavelength beam’s intensity, the laser microdoses shown in (v) are delivered. Drawing adapted with permission [Harmening and Sincich (54)].
(D) Examples of target percepts with corresponding cone activations and laser microdoses, ranging from colored squares to complex imagery. Teal-striped regions represent the color “olo” of stimulating only M cones.
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THOMAS MANSENCAL – The Apparent Simplicity of RGB Rendering
https://thomasmansencal.substack.com/p/the-apparent-simplicity-of-rgb-rendering
The primary goal of physically-based rendering (PBR) is to create a simulation that accurately reproduces the imaging process of electro-magnetic spectrum radiation incident to an observer. This simulation should be indistinguishable from reality for a similar observer.
Because a camera is not sensitive to incident light the same way than a human observer, the images it captures are transformed to be colorimetric. A project might require infrared imaging simulation, a portion of the electro-magnetic spectrum that is invisible to us. Radically different observers might image the same scene but the act of observing does not change the intrinsic properties of the objects being imaged. Consequently, the physical modelling of the virtual scene should be independent of the observer.
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Stefan Ringelschwandtner – LUT Inspector tool
It lets you load any .cube LUT right in your browser, see the RGB curves, and use a split view on the Granger Test Image to compare the original vs. LUT-applied version in real time — perfect for spotting hue shifts, saturation changes, and contrast tweaks.
https://mononodes.com/lut-inspector/
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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:
LIGHTING
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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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Light properties
Read more: Light propertiesHow It Works – Issue 114
https://www.howitworksdaily.com/ -
Photography basics: Solid Angle measures
Read more: Photography basics: Solid Angle measureshttp://www.calculator.org/property.aspx?name=solid+angle
A measure of how large the object appears to an observer looking from that point. Thus. A measure for objects in the sky. Useful to retuen the size of the sun and moon… and in perspective, how much of their contribution to lighting. Solid angle can be represented in ‘angular diameter’ as well.
http://en.wikipedia.org/wiki/Solid_angle
http://www.mathsisfun.com/geometry/steradian.html
A solid angle is expressed in a dimensionless unit called a steradian (symbol: sr). By default in terms of the total celestial sphere and before atmospheric’s scattering, the Sun and the Moon subtend fractional areas of 0.000546% (Sun) and 0.000531% (Moon).
http://en.wikipedia.org/wiki/Solid_angle#Sun_and_Moon
On earth the sun is likely closer to 0.00011 solid angle after athmospheric scattering. The sun as perceived from earth has a diameter of 0.53 degrees. This is about 0.000064 solid angle.
http://www.numericana.com/answer/angles.htm
The mean angular diameter of the full moon is 2q = 0.52° (it varies with time around that average, by about 0.009°). This translates into a solid angle of 0.0000647 sr, which means that the whole night sky covers a solid angle roughly one hundred thousand times greater than the full moon.
More info
http://lcogt.net/spacebook/using-angles-describe-positions-and-apparent-sizes-objects
http://amazing-space.stsci.edu/glossary/def.php.s=topic_astronomy
Angular Size
The apparent size of an object as seen by an observer; expressed in units of degrees (of arc), arc minutes, or arc seconds. The moon, as viewed from the Earth, has an angular diameter of one-half a degree.
The angle covered by the diameter of the full moon is about 31 arcmin or 1/2°, so astronomers would say the Moon’s angular diameter is 31 arcmin, or the Moon subtends an angle of 31 arcmin.
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