COMPOSITION
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StudioBinder – Roger Deakins on How to Choose a Camera Lens — Cinematography Composition Techniques
Read more: StudioBinder – Roger Deakins on How to Choose a Camera Lens — Cinematography Composition Techniques
https://www.studiobinder.com/blog/camera-lens-buying-guide/
https://www.studiobinder.com/blog/e-books/camera-lenses-explained-volume-1-ebook
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Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning
Read more: Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning
http://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
DESIGN
COLOR
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OpenColorIO standard
Read more: OpenColorIO standardhttps://www.provideocoalition.com/color-management-part-11-introducing-opencolorio/
OpenColorIO (OCIO) is a new open source project from Sony Imageworks.
Based on development started in 2003, OCIO enables color transforms and image display to be handled in a consistent manner across multiple graphics applications. Unlike other color management solutions, OCIO is geared towards motion-picture post production, with an emphasis on visual effects and animation color pipelines.
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Is it possible to get a dark yellow
Read more: Is it possible to get a dark yellowhttps://www.patreon.com/posts/102660674
https://www.linkedin.com/posts/stephenwestland_here-is-a-post-about-the-dark-yellow-problem-activity-7187131643764092929-7uCL
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Capturing the world in HDR for real time projects – Call of Duty: Advanced Warfare
Read more: Capturing the world in HDR for real time projects – Call of Duty: Advanced WarfareReal-World Measurements for Call of Duty: Advanced Warfare
www.activision.com/cdn/research/Real_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdf
Local version
Real_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdf
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A Brief History of Color in Art
Read more: A Brief History of Color in Artwww.artsy.net/article/the-art-genome-project-a-brief-history-of-color-in-art
Of all the pigments that have been banned over the centuries, the color most missed by painters is likely Lead White.
This hue could capture and reflect a gleam of light like no other, though its production was anything but glamorous. The 17th-century Dutch method for manufacturing the pigment involved layering cow and horse manure over lead and vinegar. After three months in a sealed room, these materials would combine to create flakes of pure white. While scientists in the late 19th century identified lead as poisonous, it wasn’t until 1978 that the United States banned the production of lead white paint.
More reading:
www.canva.com/learn/color-meanings/https://www.infogrades.com/history-events-infographics/bizarre-history-of-colors/
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Anders Langlands – Render Color Spaces
Read more: Anders Langlands – Render Color Spaceshttps://www.colour-science.org/anders-langlands/
This page compares images rendered in Arnold using spectral rendering and different sets of colourspace primaries: Rec.709, Rec.2020, ACES and DCI-P3. The SPD data for the GretagMacbeth Color Checker are the measurements of Noburu Ohta, taken from Mansencal, Mauderer and Parsons (2014) colour-science.org.
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About green screens
Read more: About green screenshackaday.com/2015/02/07/how-green-screen-worked-before-computers/
www.newtek.com/blog/tips/best-green-screen-materials/
www.chromawall.com/blog//chroma-key-green
Chroma Key Green, the color of green screens is also known as Chroma Green and is valued at approximately 354C in the Pantone color matching system (PMS).
Chroma Green can be broken down in many different ways. Here is green screen green as other values useful for both physical and digital production:
Green Screen as RGB Color Value: 0, 177, 64
Green Screen as CMYK Color Value: 81, 0, 92, 0
Green Screen as Hex Color Value: #00b140
Green Screen as Websafe Color Value: #009933Chroma Key Green is reasonably close to an 18% gray reflectance.
Illuminate your green screen with an uniform source with less than 2/3 EV variation.
The level of brightness at any given f-stop should be equivalent to a 90% white card under the same lighting. -
sRGB vs REC709 – An introduction and FFmpeg implementations
Read more: sRGB vs REC709 – An introduction and FFmpeg implementations
1. Basic Comparison
- What they are
- sRGB: A standard “web”/computer-display RGB color space defined by IEC 61966-2-1. It’s used for most monitors, cameras, printers, and the vast majority of images on the Internet.
- Rec. 709: An HD-video color space defined by ITU-R BT.709. It’s the go-to standard for HDTV broadcasts, Blu-ray discs, and professional video pipelines.
- Why they exist
- sRGB: Ensures consistent colors across different consumer devices (PCs, phones, webcams).
- Rec. 709: Ensures consistent colors across video production and playback chains (cameras → editing → broadcast → TV).
- What you’ll see
- On your desktop or phone, images tagged sRGB will look “right” without extra tweaking.
- On an HDTV or video-editing timeline, footage tagged Rec. 709 will display accurate contrast and hue on broadcast-grade monitors.
2. Digging Deeper
Feature sRGB Rec. 709 White point D65 (6504 K), same for both D65 (6504 K) Primaries (x,y) R: (0.640, 0.330) G: (0.300, 0.600) B: (0.150, 0.060) R: (0.640, 0.330) G: (0.300, 0.600) B: (0.150, 0.060) Gamut size Identical triangle on CIE 1931 chart Identical to sRGB Gamma / transfer Piecewise curve: approximate 2.2 with linear toe Pure power-law γ≈2.4 (often approximated as 2.2 in practice) Matrix coefficients N/A (pure RGB usage) Y = 0.2126 R + 0.7152 G + 0.0722 B (Rec. 709 matrix) Typical bit-depth 8-bit/channel (with 16-bit variants) 8-bit/channel (10-bit for professional video) Usage metadata Tagged as “sRGB” in image files (PNG, JPEG, etc.) Tagged as “bt709” in video containers (MP4, MOV) Color range Full-range RGB (0–255) Studio-range Y′CbCr (Y′ [16–235], Cb/Cr [16–240])
Why the Small Differences Matter
(more…) - What they are
LIGHTING
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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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Practical Aspects of Spectral Data and LEDs in Digital Content Production and Virtual Production – SIGGRAPH 2022
Read more: Practical Aspects of Spectral Data and LEDs in Digital Content Production and Virtual Production – SIGGRAPH 2022
Comparison to the commercial side
https://www.ecolorled.com/blog/detail/what-is-rgb-rgbw-rgbic-strip-lights
RGBW (RGB + White) LED strip uses a 4-in-1 LED chip made up of red, green, blue, and white.
RGBWW (RGB + White + Warm White) LED strip uses either a 5-in-1 LED chip with red, green, blue, white, and warm white for color mixing. The only difference between RGBW and RGBWW is the intensity of the white color. The term RGBCCT consists of RGB and CCT. CCT (Correlated Color Temperature) means that the color temperature of the led strip light can be adjusted to change between warm white and white. Thus, RGBWW strip light is another name of RGBCCT strip.
RGBCW is the acronym for Red, Green, Blue, Cold, and Warm. These 5-in-1 chips are used in supper bright smart LED lighting products
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Free HDRI libraries
Read more: Free HDRI librariesnoahwitchell.com
http://www.noahwitchell.com/freebieslocationtextures.com
https://locationtextures.com/panoramas/maxroz.com
https://www.maxroz.com/hdri/listHDRI Haven
https://hdrihaven.com/Poly Haven
https://polyhaven.com/hdrisDomeble
https://www.domeble.com/IHDRI
https://www.ihdri.com/HDRMaps
https://hdrmaps.com/NoEmotionHdrs.net
http://noemotionhdrs.net/hdrday.htmlOpenFootage.net
https://www.openfootage.net/hdri-panorama/HDRI-hub
https://www.hdri-hub.com/hdrishop/hdri.zwischendrin
https://www.zwischendrin.com/en/browse/hdriLonger list here:
https://cgtricks.com/list-sites-free-hdri/
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Simulon – a Hollywood production studio app in the hands of an independent creator with access to consumer hardware, LDRi to HDRi through ML
Read more: Simulon – a Hollywood production studio app in the hands of an independent creator with access to consumer hardware, LDRi to HDRi through MLDivesh Naidoo: The video below was made with a live in-camera preview and auto-exposure matching, no camera solve, no HDRI capture and no manual compositing setup. Using the new Simulon phone app.
LDR to HDR through ML
https://simulon.typeform.com/betatest
Process example
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Rendering – BRDF – Bidirectional reflectance distribution function
Read more: Rendering – BRDF – Bidirectional reflectance distribution functionhttp://en.wikipedia.org/wiki/Bidirectional_reflectance_distribution_function
The bidirectional reflectance distribution function is a four-dimensional function that defines how light is reflected at an opaque surface
http://www.cs.ucla.edu/~zhu/tutorial/An_Introduction_to_BRDF-Based_Lighting.pdf
In general, when light interacts with matter, a complicated light-matter dynamic occurs. This interaction depends on the physical characteristics of the light as well as the physical composition and characteristics of the matter.
That is, some of the incident light is reflected, some of the light is transmitted, and another portion of the light is absorbed by the medium itself.
A BRDF describes how much light is reflected when light makes contact with a certain material. Similarly, a BTDF (Bi-directional Transmission Distribution Function) describes how much light is transmitted when light makes contact with a certain material
http://www.cs.princeton.edu/~smr/cs348c-97/surveypaper.html
It is difficult to establish exactly how far one should go in elaborating the surface model. A truly complete representation of the reflective behavior of a surface might take into account such phenomena as polarization, scattering, fluorescence, and phosphorescence, all of which might vary with position on the surface. Therefore, the variables in this complete function would be:
incoming and outgoing angle incoming and outgoing wavelength incoming and outgoing polarization (both linear and circular) incoming and outgoing position (which might differ due to subsurface scattering) time delay between the incoming and outgoing light ray
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Tracing Spherical harmonics and how Weta used them in production
Read more: Tracing Spherical harmonics and how Weta used them in productionA way to approximate complex lighting in ultra realistic renders.
All SH lighting techniques involve replacing parts of standard lighting equations with spherical functions that have been projected into frequency space using the spherical harmonics as a basis.
http://www.cs.columbia.edu/~cs4162/slides/spherical-harmonic-lighting.pdf
Spherical harmonics as used at Weta Digital
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