COMPOSITION
DESIGN
COLOR
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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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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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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
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HDR and Color
Read more: HDR and Colorhttps://www.soundandvision.com/content/nits-and-bits-hdr-and-color
In HD we often refer to the range of available colors as a color gamut. Such a color gamut is typically plotted on a two-dimensional diagram, called a CIE chart, as shown in at the top of this blog. Each color is characterized by its x/y coordinates.
Good enough for government work, perhaps. But for HDR, with its higher luminance levels and wider color, the gamut becomes three-dimensional.
For HDR the color gamut therefore becomes a characteristic we now call the color volume. It isn’t easy to show color volume on a two-dimensional medium like the printed page or a computer screen, but one method is shown below. As the luminance becomes higher, the picture eventually turns to white. As it becomes darker, it fades to black. The traditional color gamut shown on the CIE chart is simply a slice through this color volume at a selected luminance level, such as 50%.
Three different color volumes—we still refer to them as color gamuts though their third dimension is important—are currently the most significant. The first is BT.709 (sometimes referred to as Rec.709), the color gamut used for pre-UHD/HDR formats, including standard HD.
The largest is known as BT.2020; it encompasses (roughly) the range of colors visible to the human eye (though ET might find it insufficient!).
Between these two is the color gamut used in digital cinema, known as DCI-P3.
sRGB

D65

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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.
LIGHTING
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Beeble Switchlight’s Plugin for Foundry Nuke
Read more: Beeble Switchlight’s Plugin for Foundry Nukehttps://www.cutout.pro/learn/beeble-switchlight/
https://www.switchlight-api.beeble.ai/pricing
https://www.switchlight-api.beeble.ai
https://github.com/beeble-ai/SwitchLight-Studio
https://beeble.ai/terms-of-use
https://www.switchlight-api.beeble.ai/docs
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Rec-2020 – TVs new color gamut standard used by Dolby Vision?
Read more: 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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domeble – Hi-Resolution CGI Backplates and 360° HDRI
Read more: domeble – Hi-Resolution CGI Backplates and 360° HDRIWhen collecting hdri make sure the data supports basic metadata, such as:
- Iso
- Aperture
- Exposure time or shutter time
- Color temperature
- Color space Exposure value (what the sensor receives of the sun intensity in lux)
- 7+ brackets (with 5 or 6 being the perceived balanced exposure)
In image processing, computer graphics, and photography, high dynamic range imaging (HDRI or just HDR) is a set of techniques that allow a greater dynamic range of luminances (a Photometry measure of the luminous intensity per unit area of light travelling in a given direction. It describes the amount of light that passes through or is emitted from a particular area, and falls within a given solid angle) between the lightest and darkest areas of an image than standard digital imaging techniques or photographic methods. This wider dynamic range allows HDR images to represent more accurately the wide range of intensity levels found in real scenes ranging from direct sunlight to faint starlight and to the deepest shadows.
The two main sources of HDR imagery are computer renderings and merging of multiple photographs, which in turn are known as low dynamic range (LDR) or standard dynamic range (SDR) images. Tone Mapping (Look-up) techniques, which reduce overall contrast to facilitate display of HDR images on devices with lower dynamic range, can be applied to produce images with preserved or exaggerated local contrast for artistic effect. Photography
In photography, dynamic range is measured in Exposure Values (in photography, exposure value denotes all combinations of camera shutter speed and relative aperture that give the same exposure. The concept was developed in Germany in the 1950s) differences or stops, between the brightest and darkest parts of the image that show detail. An increase of one EV or one stop is a doubling of the amount of light.
The human response to brightness is well approximated by a Steven’s power law, which over a reasonable range is close to logarithmic, as described by the Weber�Fechner law, which is one reason that logarithmic measures of light intensity are often used as well.
HDR is short for High Dynamic Range. It’s a term used to describe an image which contains a greater exposure range than the “black” to “white” that 8 or 16-bit integer formats (JPEG, TIFF, PNG) can describe. Whereas these Low Dynamic Range images (LDR) can hold perhaps 8 to 10 f-stops of image information, HDR images can describe beyond 30 stops and stored in 32 bit images.

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