COMPOSITION
DESIGN
COLOR
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Colormaxxing – What if I told you that rgb(255, 0, 0) is not actually the reddest red you can have in your browser?
https://karuna.dev/colormaxxing
https://webkit.org/blog-files/color-gamut/comparison.html
https://oklch.com/#70,0.1,197,100
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VES Cinematic Color – Motion-Picture Color Management
This paper presents an introduction to the color pipelines behind modern feature-film visual-effects and animation.
Authored by Jeremy Selan, and reviewed by the members of the VES Technology Committee including Rob Bredow, Dan Candela, Nick Cannon, Paul Debevec, Ray Feeney, Andy Hendrickson, Gautham Krishnamurti, Sam Richards, Jordan Soles, and Sebastian Sylwan.
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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 2022Comparison 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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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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Rec-2020 – TVs new color gamut standard used by Dolby Vision?
https://www.hdrsoft.com/resources/dri.html#bit-depth
The dynamic range is a ratio between the maximum and minimum values of a physical measurement. Its definition depends on what the dynamic range refers to.
For a scene: Dynamic range is the ratio between the brightest and darkest parts of the scene.
For a camera: Dynamic range is the ratio of saturation to noise. More specifically, the ratio of the intensity that just saturates the camera to the intensity that just lifts the camera response one standard deviation above camera noise.
For a display: Dynamic range is the ratio between the maximum and minimum intensities emitted from the screen.
The Dynamic Range of real-world scenes can be quite high — ratios of 100,000:1 are common in the natural world. An HDR (High Dynamic Range) image stores pixel values that span the whole tonal range of real-world scenes. Therefore, an HDR image is encoded in a format that allows the largest range of values, e.g. floating-point values stored with 32 bits per color channel. Another characteristics of an HDR image is that it stores linear values. This means that the value of a pixel from an HDR image is proportional to the amount of light measured by the camera.
For TVs HDR is great, but it’s not the only new TV feature worth discussing.
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LIGHTING
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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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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
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IES Light Profiles and editing software
Read more: IES Light Profiles and editing softwarehttp://www.derekjenson.com/3d-blog/ies-light-profiles
https://ieslibrary.com/en/browse#ies
https://leomoon.com/store/shaders/ies-lights-pack
https://docs.arnoldrenderer.com/display/a5afmug/ai+photometric+light
IES profiles are useful for creating life-like lighting, as they can represent the physical distribution of light from any light source.
The IES format was created by the Illumination Engineering Society, and most lighting manufacturers provide IES profile for the lights they manufacture.
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Types of Film Lights and their efficiency – CRI, Color Temperature and Luminous Efficacy
nofilmschool.com/types-of-film-lights
“Not every light performs the same way. Lights and lighting are tricky to handle. You have to plan for every circumstance. But the good news is, lighting can be adjusted. Let’s look at different factors that affect lighting in every scene you shoot. “
Use CRI, Luminous Efficacy and color temperature controls to match your needs.Color Temperature
Color temperature describes the “color” of white light by a light source radiated by a perfect black body at a given temperature measured in degrees Kelvinhttps://www.pixelsham.com/2019/10/18/color-temperature/
CRI
“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. “https://www.studiobinder.com/blog/what-is-color-rendering-index
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The Color of Infinite Temperature
This is the color of something infinitely hot.
Of course you’d instantly be fried by gamma rays of arbitrarily high frequency, but this would be its spectrum in the visible range.
johncarlosbaez.wordpress.com/2022/01/16/the-color-of-infinite-temperature/
This is also the color of a typical neutron star. They’re so hot they look the same.
It’s also the color of the early Universe!This was worked out by David Madore.
The color he got is sRGB(148,177,255).
www.htmlcsscolor.com/hex/94B1FFAnd according to the experts who sip latte all day and make up names for colors, this color is called ‘Perano’.
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