COLOR

  • The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t See

    www.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.

    Read more: The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t See
  • PTGui 13 beta adds control through a Patch Editor

    https://ptgui.com

     

    Additions:

    • Patch Editor (PTGui Pro)
    • DNG output
    • Improved RAW / DNG handling
    • JPEG 2000 support
    • Performance improvements

     

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  • Weta Digital – Manuka Raytracer and Gazebo GPU renderers – pipeline

    https://jo.dreggn.org/home/2018_manuka.pdf

     

    http://www.fxguide.com/featured/manuka-weta-digitals-new-renderer/

     

    The Manuka rendering architecture has been designed in the spirit of the classic reyes rendering architecture. In its core, reyes is based on stochastic rasterisation of micropolygons, facilitating depth of field, motion blur, high geometric complexity,and programmable shading.

     

    This is commonly achieved with Monte Carlo path tracing, using a paradigm often called shade-on-hit, in which the renderer alternates tracing rays with running shaders on the various ray hits. The shaders take the role of generating the inputs of the local material structure which is then used bypath sampling logic to evaluate contributions and to inform what further rays to cast through the scene.

     

    Over the years, however, the expectations have risen substantially when it comes to image quality. Computing pictures which are indistinguishable from real footage requires accurate simulation of light transport, which is most often performed using some variant of Monte Carlo path tracing. Unfortunately this paradigm requires random memory accesses to the whole scene and does not lend itself well to a rasterisation approach at all.

     

    Manuka is both a uni-directional and bidirectional path tracer and encompasses multiple importance sampling (MIS). Interestingly, and importantly for production character skin work, it is the first major production renderer to incorporate spectral MIS in the form of a new ‘Hero Spectral Sampling’ technique, which was recently published at Eurographics Symposium on Rendering 2014.

     

    Manuka propose a shade-before-hit paradigm in-stead and minimise I/O strain (and some memory costs) on the system, leveraging locality of reference by running pattern generation shaders before we execute light transport simulation by path sampling, “compressing” any bvh structure as needed, and as such also limiting duplication of source data.
    The difference with reyes is that instead of baking colors into the geometry like in Reyes, manuka bakes surface closures. This means that light transport is still calculated with path tracing, but all texture lookups etc. are done up-front and baked into the geometry.

     

    The main drawback with this method is that geometry has to be tessellated to its highest, stable topology before shading can be evaluated properly. As such, the high cost to first pixel. Even a basic 4 vertices square becomes a much more complex model with this approach.

     

     

    Manuka use the RenderMan Shading Language (rsl) for programmable shading [Pixar Animation Studios 2015], but we do not invoke rsl shaders when intersecting a ray with a surface (often called shade-on-hit). Instead, we pre-tessellate and pre-shade all the input geometry in the front end of the renderer.
    This way, we can efficiently order shading computations to sup-port near-optimal texture locality, vectorisation, and parallelism. This system avoids repeated evaluation of shaders at the same surface point, and presents a minimal amount of memory to be accessed during light transport time. An added benefit is that the acceleration structure for ray tracing (abounding volume hierarchy, bvh) is built once on the final tessellated geometry, which allows us to ray trace more efficiently than multi-level bvhs and avoids costly caching of on-demand tessellated micropolygons and the associated scheduling issues.

     

    For the shading reasons above, in terms of AOVs, the studio approach is to succeed at combining complex shading with ray paths in the render rather than pass a multi-pass render to compositing.

     

    For the Spectral Rendering component. The light transport stage is fully spectral, using a continuously sampled wavelength which is traced with each path and used to apply the spectral camera sensitivity of the sensor. This allows for faithfully support any degree of observer metamerism as the camera footage they are intended to match as well as complex materials which require wavelength dependent phenomena such as diffraction, dispersion, interference, iridescence, or chromatic extinction and Rayleigh scattering in participating media.

     

    As opposed to the original reyes paper, we use bilinear interpolation of these bsdf inputs later when evaluating bsdfs per pathv ertex during light transport4. This improves temporal stability of geometry which moves very slowly with respect to the pixel raster

     

    In terms of the pipeline, everything rendered at Weta was already completely interwoven with their deep data pipeline. Manuka very much was written with deep data in mind. Here, Manuka not so much extends the deep capabilities, rather it fully matches the already extremely complex and powerful setup Weta Digital already enjoy with RenderMan. For example, an ape in a scene can be selected, its ID is available and a NUKE artist can then paint in 3D say a hand and part of the way up the neutral posed ape.

     

    We called our system Manuka, as a respectful nod to reyes: we had heard a story froma former ILM employee about how reyes got its name from how fond the early Pixar people were of their lunches at Point Reyes, and decided to name our system after our surrounding natural environment, too. Manuka is a kind of tea tree very common in New Zealand which has very many very small leaves, in analogy to micropolygons ina tree structure for ray tracing. It also happens to be the case that Weta Digital’s main site is on Manuka Street.

     

     

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    Read more: Weta Digital – Manuka Raytracer and Gazebo GPU renderers – pipeline
  • 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.

    Read more: Scientists claim to have discovered ‘new colour’ no one has seen before: Olo
  • What light is best to illuminate gems for resale

    www.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.

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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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  • Mysterious animation wins best illusion of 2011 – Motion silencing illusion

    The 2011 Best Illusion of the Year uses motion to render color changes invisible, and so reveals a quirk in our visual systems that is new to scientists.

     

    https://en.wikipedia.org/wiki/Motion_silencing_illusion

     

    “It is a really beautiful effect, revealing something about how our visual system works that we didn’t know before,” said Daniel Simons, a professor at the University of Illinois, Champaign-Urbana. Simons studies visual cognition, and did not work on this illusion. Before its creation, scientists didn’t know that motion had this effect on perception, Simons said.

    A viewer stares at a speck at the center of a ring of colored dots, which continuously change color. When the ring begins to rotate around the speck, the color changes appear to stop. But this is an illusion. For some reason, the motion causes our visual system to ignore the color changes. (You can, however, see the color changes if you follow the rotating circles with your eyes.)

     

     

     

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LIGHTING

  • 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. # The threshold_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:

    1. 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.
    2. 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, and 2 ** EV is used to convert the logarithmic EV to a linear intensity value.


    3. 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.

     

    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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    Read more: HDRI Median Cut plugin
  • Composition – cinematography Cheat Sheet

    https://moodle.gllm.ac.uk/pluginfile.php/190622/mod_resource/content/1/Cinematography%20Cheat%20Sheet.pdf

    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.


    What type of lighting?

    -> High key lighting.
    Features bright, even illumination and few conspicuous shadows. This lighting key is often used in musicals and comedies.

    Low key lighting
    Features diffused shadows and atmospheric pools of light. This lighting key is often used in mysteries and thrillers.

    High contrast lighting
    Features harsh shafts of lights and dramatic streaks of blackness. This type of lighting is often used in tragedies and melodramas.

     

    What type of shot?

    Extreme long shot
    Taken from a great distance, showing much of the locale. Ifpeople are included in these shots, they usually appear as mere specks

    -> Long shot
    Corresponds to the space between the audience and the stage in a live theater. The long shots show the characters and some of the locale.

    Full shot
    Range with just enough space to contain the human body in full. The full shot shows the character and a minimal amount of the locale.

    Medium shot
    Shows the human figure from the knees or waist up.

    Close-Up
    Concentrates on a relatively small object and show very little if any locale.

    Extreme close-up
    Focuses on an unnaturally small portion of an object, giving that part great detail and symbolic significance.

     

    What angle?

    Bird’s-eye view.
    The shot is photographed directly from above. This type of shot can be disorienting, and the people photographed seem insignificant.

    High angle.
    This angle reduces the size of the objects photographed. A person photographed from this angle seems harmless and insignificant, but to a lesser extent than with the bird’s-eye view.

    -> Eye-level shot.
    The clearest view of an object, but seldom intrinsically dramatic, because it tends to be the norm.

    Low angle.
    This angle increases high and a sense of verticality, heightening the importance of the object photographed. A person shot from this angle is given a sense of power and respect.

    Oblique angle.
    For this angle, the camera is tilted laterally, giving the image a slanted appearance. Oblique angles suggest tension, transition, a impending movement. They are also called canted or dutch angles.

     

    What is the dominant color?

    The use of color in this shot is symbolic. The scene is set in warehouse. Both the set and characters are blues, blacks and whites.

    This was intentional allowing for the scenes and shots with blood to have a great level of contrast.

     

    What is the Lens/Filter/Stock?

    Telephoto lens.
    A lens that draws objects closer but also diminishes the illusion of depth.

    Wide-angle lens.
    A lens that takes in a broad area and increases the illusion of depth but sometimes distorts the edges of the image.

    Fast film stock.
    Highly sensitive to light, it can register an image with little illumination. However, the final product tends to be grainy.

    Slow film stock.
    Relatively insensitive to light, it requires a great deal of illumination. The final product tends to look polished.

    The lens is not wide-angle because there isn’t a great sense of depth, nor are several planes in focus. The lens is probably long but not necessarily a telephoto lens because the depth isn’t inordinately compressed.

    The stock is fast because of the grainy quality of the image.

     

    Subsidiary Contrast; where does the eye go next?

    The two guns.

     

    How much visual information is packed into the image? Is the texture stark, moderate, or highly detailed?

    Minimalist clutter in the warehouse allows a focus on a character driven thriller.

     

    What is the Composition?

    Horizontal.
    Compositions based on horizontal lines seem visually at rest and suggest placidity or peacefulness.

    Vertical.
    Compositions based on vertical lines seem visually at rest and suggest strength.

    -> Diagonal.
    Compositions based on diagonal, or oblique, lines seem dynamic and suggest tension or anxiety.

    -> Binary. Binary structures emphasize parallelism.

    Triangle.
    Triadic compositions stress the dynamic interplay among three main

    Circle.
    Circular compositions suggest security and enclosure.

     

    Is the form open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or a proscenium arch, in which the visual elements are carefully arranged and held in balance?

    The most nebulous of all the categories of mise en scene, the type of form is determined by how consciously structured the mise en scene is. Open forms stress apparently simple techniques, because with these unself-conscious methods the filmmaker is able to emphasize the immediate, the familiar, the intimate aspects of reality. In open-form images, the frame tends to be deemphasized. In closed form images, all the necessary information is carefully structured within the confines of the frame. Space seems enclosed and self-contained rather than continuous.

    Could argue this is a proscenium arch because this is such a classic shot with parallels and juxtapositions.

     

    Is the framing tight or loose? Do the character have no room to move around, or can they move freely without impediments?

    Shots where the characters are placed at the edges of the frame and have little room to move around within the frame are considered tight.

    Longer shots, in which characters have room to move around within the frame, are considered loose and tend to suggest freedom.

    Center-framed giving us the entire scene showing isolation, place and struggle.

     

    Depth of Field. On how many planes is the image composed (how many are in focus)? Does the background or foreground comment in any way on the mid-ground?

    Standard DOF, one background and clearly defined foreground.

     

    Which way do the characters look vis-a-vis the camera?

    An actor can be photographed in any of five basic positions, each conveying different psychological overtones.

    Full-front (facing the camera):
    the position with the most intimacy. The character is looking in our direction, inviting our complicity.

    Quarter Turn:
    the favored position of most filmmakers. This position offers a high degree of intimacy but with less emotional involvement than the full-front.

    -> Profile (looking of the frame left or right):
    More remote than the quarter turn, the character in profile seems unaware of being observed, lost in his or her own thoughts.

    Three-quarter Turn:
    More anonymous than the profile, this position is useful for conveying a character’s unfriendly or antisocial feelings, for in effect, the character is partially turning his or her back on us, rejecting our interest.

    Back to Camera:
    The most anonymous of all positions, this position is often used to suggest a character’s alienation from the world. When a character has his or her back to the camera, we can only guess what’s taking place internally, conveying a sense of concealment, or mystery.

    How much space is there between the characters?

    Extremely close, for a gunfight.

     

    The way people use space can be divided into four proxemic patterns.

    Intimate distances.
    The intimate distance ranges from skin contact to about eighteen inches away. This is the distance of physical involvement–of love, comfort, and tenderness between individuals.

    -> Personal distances.
    The personal distance ranges roughly from eighteen inches away to about four feet away. These distances tend to be reserved for friends and acquaintances. Personal distances preserve the privacy between individuals, yet these rages don’t necessarily suggest exclusion, as intimate distances often do.

    Social distances.
    The social distance rages from four feet to about twelve feet. These distances are usually reserved for impersonal business and casual social gatherings. It’s a friendly range in most cases, yet somewhat more formal than the personal distance.

    Public distances.
    The public distance extends from twelve feet to twenty-five feet or more. This range tends to be formal and rather detached.

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    Read more: Composition – cinematography Cheat Sheet