COMPOSITION
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Composition – cinematography Cheat Sheet
Read 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.
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 mainCircle.
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.
DESIGN
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Disco Diffusion V4.1 Google Colab, Dall-E, Starryai – creating images with AI
Read more: Disco Diffusion V4.1 Google Colab, Dall-E, Starryai – creating images with AIDisco Diffusion (DD) is a Google Colab Notebook which leverages an AI Image generating technique called CLIP-Guided Diffusion to allow you to create compelling and beautiful images from just text inputs. Created by Somnai, augmented by Gandamu, and building on the work of RiversHaveWings, nshepperd, and many others.
Phone app: https://www.starryai.com/
docs.google.com/document/d/1l8s7uS2dGqjztYSjPpzlmXLjl5PM3IGkRWI3IiCuK7g
colab.research.google.com/drive/1sHfRn5Y0YKYKi1k-ifUSBFRNJ8_1sa39
Colab, or “Colaboratory”, allows you to write and execute Python in your browser, with
– Zero configuration required
– Access to GPUs free of charge
– Easy sharing
https://80.lv/articles/a-beautiful-roman-villa-made-with-disco-diffusion-5-2/
COLOR
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Composition – cinematography Cheat Sheet
Read more: Composition – cinematography Cheat SheetWhere 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 mainCircle.
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. -
Photography Basics : Spectral Sensitivity Estimation Without a Camera
Read more: Photography Basics : Spectral Sensitivity Estimation Without a Camerahttps://color-lab-eilat.github.io/Spectral-sensitivity-estimation-web/
A number of problems in computer vision and related fields would be mitigated if camera spectral sensitivities were known. As consumer cameras are not designed for high-precision visual tasks, manufacturers do not disclose spectral sensitivities. Their estimation requires a costly optical setup, which triggered researchers to come up with numerous indirect methods that aim to lower cost and complexity by using color targets. However, the use of color targets gives rise to new complications that make the estimation more difficult, and consequently, there currently exists no simple, low-cost, robust go-to method for spectral sensitivity estimation that non-specialized research labs can adopt. Furthermore, even if not limited by hardware or cost, researchers frequently work with imagery from multiple cameras that they do not have in their possession.
To provide a practical solution to this problem, we propose a framework for spectral sensitivity estimation that not only does not require any hardware (including a color target), but also does not require physical access to the camera itself. Similar to other work, we formulate an optimization problem that minimizes a two-term objective function: a camera-specific term from a system of equations, and a universal term that bounds the solution space.
Different than other work, we utilize publicly available high-quality calibration data to construct both terms. We use the colorimetric mapping matrices provided by the Adobe DNG Converter to formulate the camera-specific system of equations, and constrain the solutions using an autoencoder trained on a database of ground-truth curves. On average, we achieve reconstruction errors as low as those that can arise due to manufacturing imperfections between two copies of the same camera. We provide predicted sensitivities for more than 1,000 cameras that the Adobe DNG Converter currently supports, and discuss which tasks can become trivial when camera responses are available.
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Thomas Mansencal – Colour Science for Python
Read more: Thomas Mansencal – Colour Science for Pythonhttps://thomasmansencal.substack.com/p/colour-science-for-python
https://www.colour-science.org/
Colour is an open-source Python package providing a comprehensive number of algorithms and datasets for colour science. It is freely available under the BSD-3-Clause terms.
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Weta Digital – Manuka Raytracer and Gazebo GPU renderers – pipeline
Read more: Weta Digital – Manuka Raytracer and Gazebo GPU renderers – pipelinehttps://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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Björn Ottosson – OKHSV and OKHSL – Two new color spaces for color picking
Read more: Björn Ottosson – OKHSV and OKHSL – Two new color spaces for color pickinghttps://bottosson.github.io/misc/colorpicker
https://bottosson.github.io/posts/colorpicker/
https://www.smashingmagazine.com/2024/10/interview-bjorn-ottosson-creator-oklab-color-space/
One problem with sRGB is that in a gradient between blue and white, it becomes a bit purple in the middle of the transition. That’s because sRGB really isn’t created to mimic how the eye sees colors; rather, it is based on how CRT monitors work. That means it works with certain frequencies of red, green, and blue, and also the non-linear coding called gamma. It’s a miracle it works as well as it does, but it’s not connected to color perception. When using those tools, you sometimes get surprising results, like purple in the gradient.
There were also attempts to create simple models matching human perception based on XYZ, but as it turned out, it’s not possible to model all color vision that way. Perception of color is incredibly complex and depends, among other things, on whether it is dark or light in the room and the background color it is against. When you look at a photograph, it also depends on what you think the color of the light source is. The dress is a typical example of color vision being very context-dependent. It is almost impossible to model this perfectly.
I based Oklab on two other color spaces, CIECAM16 and IPT. I used the lightness and saturation prediction from CIECAM16, which is a color appearance model, as a target. I actually wanted to use the datasets used to create CIECAM16, but I couldn’t find them.
IPT was designed to have better hue uniformity. In experiments, they asked people to match light and dark colors, saturated and unsaturated colors, which resulted in a dataset for which colors, subjectively, have the same hue. IPT has a few other issues but is the basis for hue in Oklab.
In the Munsell color system, colors are described with three parameters, designed to match the perceived appearance of colors: Hue, Chroma and Value. The parameters are designed to be independent and each have a uniform scale. This results in a color solid with an irregular shape. The parameters are designed to be independent and each have a uniform scale. This results in a color solid with an irregular shape. Modern color spaces and models, such as CIELAB, Cam16 and Björn Ottosson own Oklab, are very similar in their construction.
By far the most used color spaces today for color picking are HSL and HSV, two representations introduced in the classic 1978 paper “Color Spaces for Computer Graphics”. HSL and HSV designed to roughly correlate with perceptual color properties while being very simple and cheap to compute.
Today HSL and HSV are most commonly used together with the sRGB color space.
One of the main advantages of HSL and HSV over the different Lab color spaces is that they map the sRGB gamut to a cylinder. This makes them easy to use since all parameters can be changed independently, without the risk of creating colors outside of the target gamut.
The main drawback on the other hand is that their properties don’t match human perception particularly well.
Reconciling these conflicting goals perfectly isn’t possible, but given that HSV and HSL don’t use anything derived from experiments relating to human perception, creating something that makes a better tradeoff does not seem unreasonable.
With this new lightness estimate, we are ready to look into the construction of Okhsv and Okhsl.
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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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Mysterious animation wins best illusion of 2011 – Motion silencing illusion
Read more: Mysterious animation wins best illusion of 2011 – Motion silencing illusionThe 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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StudioBinder.com – CRI color rendering index
Read more: StudioBinder.com – CRI color rendering indexwww.studiobinder.com/blog/what-is-color-rendering-index
“The Color Rendering Index is a measurement of how faithfully a light source reveals the colors of whatever it illuminates, it describes the ability of a light source to reveal the color of an object, as compared to the color a natural light source would provide. The highest possible CRI is 100. A CRI of 100 generally refers to a perfect black body, like a tungsten light source or the sun. ”
www.pixelsham.com/2021/04/28/types-of-film-lights-and-their-efficiency
![[gamma correction test]](http://www.madore.org/~david/misc/color/gammatest.png "sRGB gamma correction test")
LIGHTING
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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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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
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Photography basics: How Exposure Stops (Aperture, Shutter Speed, and ISO) Affect Your Photos – cheat sheet cards
Read more: Photography basics: How Exposure Stops (Aperture, Shutter Speed, and ISO) Affect Your Photos – cheat sheet cardsAlso see:
https://www.pixelsham.com/2018/11/22/exposure-value-measurements/
https://www.pixelsham.com/2016/03/03/f-stop-vs-t-stop/
An exposure stop is a unit measurement of Exposure as such it provides a universal linear scale to measure the increase and decrease in light, exposed to the image sensor, due to changes in shutter speed, iso and f-stop.
+-1 stop is a doubling or halving of the amount of light let in when taking a photo
1 EV (exposure value) is just another way to say one stop of exposure change.
https://www.photographymad.com/pages/view/what-is-a-stop-of-exposure-in-photography
Same applies to shutter speed, iso and aperture.
Doubling or halving your shutter speed produces an increase or decrease of 1 stop of exposure.
Doubling or halving your iso speed produces an increase or decrease of 1 stop of exposure.
Because of the way f-stop numbers are calculated (ratio of focal length/lens diameter, where focal length is the distance between the lens and the sensor), an f-stop doesn’t relate to a doubling or halving of the value, but to the doubling/halving of the area coverage of a lens in relation to its focal length. And as such, to a multiplying or dividing by 1.41 (the square root of 2). For example, going from f/2.8 to f/4 is a decrease of 1 stop because 4 = 2.8 * 1.41. Changing from f/16 to f/11 is an increase of 1 stop because 11 = 16 / 1.41.
A wider aperture means that light proceeding from the foreground, subject, and background is entering at more oblique angles than the light entering less obliquely.
Consider that absolutely everything is bathed in light, therefore light bouncing off of anything is effectively omnidirectional. Your camera happens to be picking up a tiny portion of the light that’s bouncing off into infinity.
Now consider that the wider your iris/aperture, the more of that omnidirectional light you’re picking up:
When you have a very narrow iris you are eliminating a lot of oblique light. Whatever light enters, from whatever distance, enters moderately parallel as a whole. When you have a wide aperture, much more light is entering at a multitude of angles. Your lens can only focus the light from one depth – the foreground/background appear blurred because it cannot be focused on.
https://frankwhitephotography.com/index.php?id=28:what-is-a-stop-in-photography
The great thing about stops is that they give us a way to directly compare shutter speed, aperture diameter, and ISO speed. This means that we can easily swap these three components about while keeping the overall exposure the same.
http://lifehacker.com/how-aperture-shutter-speed-and-iso-affect-pictures-sh-1699204484
https://www.techradar.com/how-to/the-exposure-triangle
https://www.videoschoolonline.com/what-is-an-exposure-stop
Note. All three of these measurements (aperture, shutter, iso) have full stops, half stops and third stops, but if you look at the numbers they aren’t always consistent. For example, a one third stop between ISO100 and ISO 200 would be ISO133, yet most cameras are marked at ISO125.
Third-stops are especially important as they’re the increment that most cameras use for their settings. These are just imaginary divisions in each stop.
From a practical standpoint manufacturers only standardize the full stops, meaning that while they try and stay somewhat consistent there is some rounding up going on between the smaller numbers.
Note that ND Filters directly modify the exposure triangle.
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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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What is physically correct lighting all about?
Read more: What is physically correct lighting all about?http://gamedev.stackexchange.com/questions/60638/what-is-physically-correct-lighting-all-about
2012-08 Nathan Reed wrote:
Physically-based shading means leaving behind phenomenological models, like the Phong shading model, which are simply built to “look good” subjectively without being based on physics in any real way, and moving to lighting and shading models that are derived from the laws of physics and/or from actual measurements of the real world, and rigorously obey physical constraints such as energy conservation.
For example, in many older rendering systems, shading models included separate controls for specular highlights from point lights and reflection of the environment via a cubemap. You could create a shader with the specular and the reflection set to wildly different values, even though those are both instances of the same physical process. In addition, you could set the specular to any arbitrary brightness, even if it would cause the surface to reflect more energy than it actually received.
In a physically-based system, both the point light specular and the environment reflection would be controlled by the same parameter, and the system would be set up to automatically adjust the brightness of both the specular and diffuse components to maintain overall energy conservation. Moreover you would want to set the specular brightness to a realistic value for the material you’re trying to simulate, based on measurements.
Physically-based lighting or shading includes physically-based BRDFs, which are usually based on microfacet theory, and physically correct light transport, which is based on the rendering equation (although heavily approximated in the case of real-time games).
It also includes the necessary changes in the art process to make use of these features. Switching to a physically-based system can cause some upsets for artists. First of all it requires full HDR lighting with a realistic level of brightness for light sources, the sky, etc. and this can take some getting used to for the lighting artists. It also requires texture/material artists to do some things differently (particularly for specular), and they can be frustrated by the apparent loss of control (e.g. locking together the specular highlight and environment reflection as mentioned above; artists will complain about this). They will need some time and guidance to adapt to the physically-based system.
On the plus side, once artists have adapted and gained trust in the physically-based system, they usually end up liking it better, because there are fewer parameters overall (less work for them to tweak). Also, materials created in one lighting environment generally look fine in other lighting environments too. This is unlike more ad-hoc models, where a set of material parameters might look good during daytime, but it comes out ridiculously glowy at night, or something like that.
Here are some resources to look at for physically-based lighting in games:
SIGGRAPH 2013 Physically Based Shading Course, particularly the background talk by Naty Hoffman at the beginning. You can also check out the previous incarnations of this course for more resources.
Sébastien Lagarde, Adopting a physically-based shading model and Feeding a physically-based shading model
And of course, I would be remiss if I didn’t mention Physically-Based Rendering by Pharr and Humphreys, an amazing reference on this whole subject and well worth your time, although it focuses on offline rather than real-time rendering.
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