COMPOSITION
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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 stunninghttp://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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SlowMoVideo – How to make a slow motion shot with the open source program
Read more: SlowMoVideo – How to make a slow motion shot with the open source programhttp://slowmovideo.granjow.net/
slowmoVideo is an OpenSource program that creates slow-motion videos from your footage.
Slow motion cinematography is the result of playing back frames for a longer duration than they were exposed. For example, if you expose 240 frames of film in one second, then play them back at 24 fps, the resulting movie is 10 times longer (slower) than the original filmed event….
Film cameras are relatively simple mechanical devices that allow you to crank up the speed to whatever rate the shutter and pull-down mechanism allow. Some film cameras can operate at 2,500 fps or higher (although film shot in these cameras often needs some readjustment in postproduction). Video, on the other hand, is always captured, recorded, and played back at a fixed rate, with a current limit around 60fps. This makes extreme slow motion effects harder to achieve (and less elegant) on video, because slowing down the video results in each frame held still on the screen for a long time, whereas with high-frame-rate film there are plenty of frames to fill the longer durations of time. On video, the slow motion effect is more like a slide show than smooth, continuous motion.
One obvious solution is to shoot film at high speed, then transfer it to video (a case where film still has a clear advantage, sorry George). Another possibility is to cross dissolve or blur from one frame to the next. This adds a smooth transition from one still frame to the next. The blur reduces the sharpness of the image, and compared to slowing down images shot at a high frame rate, this is somewhat of a cheat. However, there isn’t much you can do about it until video can be recorded at much higher rates. Of course, many film cameras can’t shoot at high frame rates either, so the whole super-slow-motion endeavor is somewhat specialized no matter what medium you are using. (There are some high speed digital cameras available now that allow you to capture lots of digital frames directly to your computer, so technology is starting to catch up with film. However, this feature isn’t going to appear in consumer camcorders any time soon.)
DESIGN
COLOR
LIGHTING
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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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Magnific.ai Relight – change the entire lighting of a scene
Read more: Magnific.ai Relight – change the entire lighting of a sceneIt’s a new Magnific spell that allows you to change the entire lighting of a scene and, optionally, the background with just:
1/ A prompt OR
2/ A reference image OR
3/ A light map (drawing your own lights)https://x.com/javilopen/status/1805274155065176489
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Open Source Nvidia Omniverse
Read more: Open Source Nvidia Omniverseblogs.nvidia.com/blog/2019/03/18/omniverse-collaboration-platform/
developer.nvidia.com/nvidia-omniverse
An open, Interactive 3D Design Collaboration Platform for Multi-Tool Workflows to simplify studio workflows for real-time graphics.
It supports Pixar’s Universal Scene Description technology for exchanging information about modeling, shading, animation, lighting, visual effects and rendering across multiple applications.
It also supports NVIDIA’s Material Definition Language, which allows artists to exchange information about surface materials across multiple tools.
With Omniverse, artists can see live updates made by other artists working in different applications. They can also see changes reflected in multiple tools at the same time.
For example an artist using Maya with a portal to Omniverse can collaborate with another artist using UE4 and both will see live updates of each others’ changes in their application.
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Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminance
Read more: Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminancehttps://www.translatorscafe.com/unit-converter/en-US/illumination/1-11/
The power output of a light source is measured using the unit of watts W. This is a direct measure to calculate how much power the light is going to drain from your socket and it is not relatable to the light brightness itself.
The amount of energy emitted from it per second. That energy comes out in a form of photons which we can crudely represent with rays of light coming out of the source. The higher the power the more rays emitted from the source in a unit of time.
Not all energy emitted is visible to the human eye, so we often rely on photometric measurements, which takes in account the sensitivity of human eye to different wavelenghts
Details in the post
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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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