COMPOSITION
DESIGN
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Cosmic Motors book by Daniel Simon
Read more: Cosmic Motors book by Daniel Simonhttp://danielsimon.com/cosmic-motors-the-book/
Book Cover Cosmic Motors, Copyright by Cosmic Motors LLC / Daniel Simon www.danielsimon.com -
Goga Tandashvili – bas-relief master
Read more: Goga Tandashvili – bas-relief master@moltenimmersiveart Goga Tandashvili is a master of the art of Bas-Relief. Using this technique, he creates stunning figures that are slightly raised from a flat surface, bringing scenes inspired by the natural world to life. #Art #Artists #GogaTandashvili #BasReliefSculpture #ArtInspiredByNature #ImpressionistArt #BasRelief #Sculptures #Sculptor #Molten #MoltenArt #MoltenImmersiveArt #MoltenAffect #Curation #Curator #ArtCuration #ArtCurator #DorothyDiStefano ♬ original sound – Molten Immersive Art -
A.I. Algorithm art fetches US$432,500 at Christie auction
Read more: A.I. Algorithm art fetches US$432,500 at Christie auctionwww.ctvnews.ca/entertainment/algorithm-art-fetches-us-432-500-at-christie-s-auction-1.4150620
www.christies.com/features/A-collaboration-between-two-artists-one-human-one-a-machine-9332-1.aspx
COLOR
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Paul Debevec, Chloe LeGendre, Lukas Lepicovsky – Jointly Optimizing Color Rendition and In-Camera Backgrounds in an RGB Virtual Production Stage
Read more: Paul Debevec, Chloe LeGendre, Lukas Lepicovsky – Jointly Optimizing Color Rendition and In-Camera Backgrounds in an RGB Virtual Production Stagehttps://arxiv.org/pdf/2205.12403.pdf
RGB LEDs vs RGBWP (RGB + lime + phospor converted amber) LEDs
Local copy:
LIGHTING
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HDRI Median Cut plugin
Read more: HDRI Median Cut pluginwww.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 # Theluminancearray contains the calculated luminance values for each pixel in the image. # Thethreshold_valueis 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:
- 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.
- 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,
EVis the exposure value,base_valueis a scaling factor that determines the relationship between EV and threshold_value, and2 ** EVis used to convert the logarithmic EV to a linear intensity value. - Choosing the Base Value:
- The
base_valuefactor 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_valueto achieve the desired separation of bright areas from the rest of the image.
- The
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_valueto 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) -
GretagMacbeth Color Checker Numeric Values and Middle Gray
Read more: GretagMacbeth Color Checker Numeric Values and Middle GrayThe human eye perceives half scene brightness not as the linear 50% of the present energy (linear nature values) but as 18% of the overall brightness. We are biased to perceive more information in the dark and contrast areas. A Macbeth chart helps with calibrating back into a photographic capture into this “human perspective” of the world.
https://en.wikipedia.org/wiki/Middle_gray
In photography, painting, and other visual arts, middle gray or middle grey is a tone that is perceptually about halfway between black and white on a lightness scale in photography and printing, it is typically defined as 18% reflectance in visible light
Light meters, cameras, and pictures are often calibrated using an 18% gray card[4][5][6] or a color reference card such as a ColorChecker. On the assumption that 18% is similar to the average reflectance of a scene, a grey card can be used to estimate the required exposure of the film.
https://en.wikipedia.org/wiki/ColorChecker
The exposure meter in the camera does not know whether the subject itself is bright or not. It simply measures the amount of light that comes in, and makes a guess based on that. The camera will aim for 18% gray independently, meaning if you take a photo of an entirely white surface, and an entirely black surface you should get two identical images which both are gray (at least in theory). Thus enters the Macbeth chart.
<!–more–>
Note that Chroma Key Green is reasonably close to an 18% gray reflectance.
http://www.rags-int-inc.com/PhotoTechStuff/MacbethTarget/
No Camera Data 
https://upload.wikimedia.org/wikipedia/commons/b/b4/CIE1931xy_ColorChecker_SMIL.svg
RGB coordinates of the Macbeth ColorChecker
https://pdfs.semanticscholar.org/0e03/251ad1e6d3c3fb9cb0b1f9754351a959e065.pdf
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Ethan Roffler interviews CG Supervisor Daniele Tosti
Read more: Ethan Roffler interviews CG Supervisor Daniele TostiEthan Roffler
I recently had the honor of interviewing this VFX genius and gained great insight into what it takes to work in the entertainment industry. Keep in mind, these questions are coming from an artist’s perspective but can be applied to any creative individual looking for some wisdom from a professional. So grab a drink, sit back, and enjoy this fun and insightful conversation.
Ethan
To start, I just wanted to say thank you so much for taking the time for this interview!Daniele
My pleasure.
When I started my career I struggled to find help. Even people in the industry at the time were not that helpful. Because of that, I decided very early on that I was going to do exactly the opposite. I spend most of my weekends talking or helping students. ;)Ethan
That’s awesome! I have also come across the same struggle! Just a heads up, this will probably be the most informal interview you’ll ever have haha! Okay, so let’s start with a small introduction!Daniele
Short introduction: I worked very hard and got lucky enough to work on great shows with great people. ;) Slightly longer version: I started working for a TV channel, very early, while I was learning about CG. Slowly made my way across the world, working along very great people and amazing shows. I learned that to be successful in this business, you have to really love what you do as much as respecting the people around you. What you do will improve to the final product; the way you work with people will make a difference in your life.
Ethan
How long have you been an artist?Daniele
Loaded question. I believe I am still trying and craving to be one. After each production I finish I realize how much I still do not know. And how many things I would like to try. I guess in my CG Sup and generalist world, being an artist is about learning as much about the latest technologies and production cycles as I can, then putting that in practice. Having said that, I do consider myself a cinematographer first, as I have been doing that for about 25 years now.Ethan
Words of true wisdom, the more I know the less I know:) How did you get your start in the industry?
How did you break into such a competitive field?Daniele
There were not many schools when I started. It was all about a few magazines, some books, and pushing software around trying to learn how to make pretty images. Opportunities opened because of that knowledge! The true break was learning to work hard to achieve a Suspension of Disbelief in my work that people would recognize as such. It’s not something everyone can do, but I was fortunate to not be scared of working hard, being a quick learner and having very good supervisors and colleagues to learn from.Ethan
Which do you think is better, having a solid art degree or a strong portfolio?Daniele
Very good question. A strong portfolio will get you a job now. A solid strong degree will likely get you a job for a longer period. Let me digress here; Working as an artist is not about being an artist, it’s about making money as an artist. Most people fail to make that difference and have either a poor career or lack the understanding to make a stable one. One should never mix art with working as an artist. You can do both only if you understand business and are fair to yourself.
Ethan
That’s probably the most helpful answer to that question I have ever heard.
What’s some advice you can offer to someone just starting out who wants to break into the industry?Daniele
Breaking in the industry is not just about knowing your art. It’s about knowing good business practices. Prepare a good demo reel based on the skill you are applying for; research all the places where you want to apply and why; send as many reels around; follow up each reel with a phone call. Business is all about right time, right place.Ethan
A follow-up question to that is: Would you consider it a bad practice to send your demo reels out in mass quantity rather than focusing on a handful of companies to research and apply for?Daniele
Depends how desperate you are… I would say research is a must. To improve your options, you need to know which company is working on what and what skills they are after. If you were selling vacuum cleaners you probably would not want to waste energy contacting shoemakers or cattle farmers.Ethan
What do you think the biggest killer of creativity and productivity is for you?Daniele
Money…If you were thinking as an artist. ;) If you were thinking about making money as an artist… then I would say “thinking that you work alone”.Ethan
Best. Answer. Ever.
What are ways you fight complacency and maintain fresh ideas, outlooks, and perspectivesDaniele
Two things: Challenge yourself to go outside your comfort zone. And think outside of the box.Ethan
What are the ways/habits you have that challenge yourself to get out of your comfort zone and think outside the box?Daniele
If you think you are a good character painter, pick up a camera and go take pictures of amazing landscapes. If you think you are good only at painting or sketching, learn how to code in python. If you cannot solve a problem, that being a project or a person, learn to ask for help or learn about looking at the problem from various perspectives. If you are introvert, learn to be extrovert. And vice versa. And so on…
Ethan
How do you avoid burnout?Daniele
Oh… I wish I learned about this earlier. I think anyone that has a passion in something is at risk of burning out. Artists, more than many, because we see the world differently and our passion goes deep. You avoid burnouts by thinking that you are in a long term plan and that you have an obligation to pay or repay your talent by supporting and cherishing yourself and your family, not your paycheck. You do this by treating your art as a business and using business skills when dealing with your career and using artistic skills only when you are dealing with a project itself.Ethan
Looking back, what was a big defining moment for you?Daniele
Recognizing that people around you, those being colleagues, friends or family, come first.
It changed my career overnight.Ethan
Who are some of your personal heroes?Daniele
Too many to list. Most recently… James Cameron; Joe Letteri; Lawrence Krauss; Richard Dawkins. Because they all mix science, art, and poetry in their own way.Ethan
Last question:
What’s your dream job? ;)Daniele
Teaching artists to be better at being business people… as it will help us all improve our lives and the careers we took…
Being a VFX artist is fundamentally based on mistrust.
This because schedules, pipelines, technology, creative calls… all have a native and naive instability to them that causes everyone to grow a genuine but beneficial lack of trust in the status quo. This is a fine balance act to build into your character. The VFX motto: “Love everyone but trust no one” is born on that.
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3D Lighting Tutorial by Amaan Kram
Read more: 3D Lighting Tutorial by Amaan Kramhttp://www.amaanakram.com/lightingT/part1.htm
The goals of lighting in 3D computer graphics are more or less the same as those of real world lighting.
Lighting serves a basic function of bringing out, or pushing back the shapes of objects visible from the camera’s view.
It gives a two-dimensional image on the monitor an illusion of the third dimension-depth.But it does not just stop there. It gives an image its personality, its character. A scene lit in different ways can give a feeling of happiness, of sorrow, of fear etc., and it can do so in dramatic or subtle ways. Along with personality and character, lighting fills a scene with emotion that is directly transmitted to the viewer.
Trying to simulate a real environment in an artificial one can be a daunting task. But even if you make your 3D rendering look absolutely photo-realistic, it doesn’t guarantee that the image carries enough emotion to elicit a “wow” from the people viewing it.
Making 3D renderings photo-realistic can be hard. Putting deep emotions in them can be even harder. However, if you plan out your lighting strategy for the mood and emotion that you want your rendering to express, you make the process easier for yourself.
Each light source can be broken down in to 4 distinct components and analyzed accordingly.
· Intensity
· Direction
· Color
· SizeThe overall thrust of this writing is to produce photo-realistic images by applying good lighting techniques.
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Photography basics: Solid Angle measures
Read more: Photography basics: Solid Angle measureshttp://www.calculator.org/property.aspx?name=solid+angle
A measure of how large the object appears to an observer looking from that point. Thus. A measure for objects in the sky. Useful to retuen the size of the sun and moon… and in perspective, how much of their contribution to lighting. Solid angle can be represented in ‘angular diameter’ as well.
http://en.wikipedia.org/wiki/Solid_angle
http://www.mathsisfun.com/geometry/steradian.html
A solid angle is expressed in a dimensionless unit called a steradian (symbol: sr). By default in terms of the total celestial sphere and before atmospheric’s scattering, the Sun and the Moon subtend fractional areas of 0.000546% (Sun) and 0.000531% (Moon).
http://en.wikipedia.org/wiki/Solid_angle#Sun_and_Moon
On earth the sun is likely closer to 0.00011 solid angle after athmospheric scattering. The sun as perceived from earth has a diameter of 0.53 degrees. This is about 0.000064 solid angle.
http://www.numericana.com/answer/angles.htm
The mean angular diameter of the full moon is 2q = 0.52° (it varies with time around that average, by about 0.009°). This translates into a solid angle of 0.0000647 sr, which means that the whole night sky covers a solid angle roughly one hundred thousand times greater than the full moon.
More info
http://lcogt.net/spacebook/using-angles-describe-positions-and-apparent-sizes-objects
http://amazing-space.stsci.edu/glossary/def.php.s=topic_astronomy
Angular Size
The apparent size of an object as seen by an observer; expressed in units of degrees (of arc), arc minutes, or arc seconds. The moon, as viewed from the Earth, has an angular diameter of one-half a degree.
The angle covered by the diameter of the full moon is about 31 arcmin or 1/2°, so astronomers would say the Moon’s angular diameter is 31 arcmin, or the Moon subtends an angle of 31 arcmin.
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studiobinder.com – What is Tenebrism and Hard Lighting — The Art of Light and Shadow and chiaroscuro Explained
Read more: studiobinder.com – What is Tenebrism and Hard Lighting — The Art of Light and Shadow and chiaroscuro Explainedhttps://www.studiobinder.com/blog/what-is-tenebrism-art-definition/
https://www.studiobinder.com/blog/what-is-hard-light-photography/
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