COMPOSITION
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SlowMoVideo – How to make a slow motion shot with the open source programRead 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.) 
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7 Commandments of Film Editing and compositionRead more: 7 Commandments of Film Editing and composition1. Watch every frame of raw footage twice. On the second time, take notes. If you don’t do this and try to start developing a scene premature, then it’s a big disservice to yourself and to the director, actors and production crew. 2. Nurture the relationships with the director. You are the secondary person in the relationship. Be calm and continually offer solutions. Get the main intention of the film as soon as possible from the director. 3. Organize your media so that you can find any shot instantly. 4. Factor in extra time for renders, exports, errors and crashes. 5. Attempt edits and ideas that shouldn’t work. It just might work. Until you do it and watch it, you won’t know. Don’t rule out ideas just because they don’t make sense in your mind. 6. Spend more time on your audio. It’s the glue of your edit. AUDIO SAVES EVERYTHING. Create fluid and seamless audio under your video. 7. Make cuts for the scene, but always in context for the whole film. Have a macro and a micro view at all times. 
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Cinematographers Blueprint 300dpi posterRead more: Cinematographers Blueprint 300dpi posterThe 300dpi digital poster is now available to all PixelSham.com subscribers. If you have already subscribed and wish a copy, please send me a note through the contact page. 
DESIGN
COLOR
LIGHTING
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Polarised vs unpolarized filteringRead more: Polarised vs unpolarized filteringA light wave that is vibrating in more than one plane is referred to as unpolarized light. … Polarized light waves are light waves in which the vibrations occur in a single plane. The process of transforming unpolarized light into polarized light is known as polarization.  en.wikipedia.org/wiki/Polarizing_filter_(photography) The most common use of polarized technology is to reduce lighting complexity on the subject. (more…)
 Details such as glare and hard edges are not removed, but greatly reduced.
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7 Easy Portrait Lighting SetupsRead more: 7 Easy Portrait Lighting SetupsButterfly Loop Rembrandt Split Rim Broad Short 
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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. (more…)
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Beeble Switchlight’s Plugin for Foundry NukeRead 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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3D Lighting Tutorial by Amaan KramRead 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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