COMPOSITION
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7 Commandments of Film Editing and composition
Read 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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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
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 -
Arminas Valunas – “Coca-Cola: Wherever you are.”
Read more: Arminas Valunas – “Coca-Cola: Wherever you are.”Arminas created this using Juggernaut Xl model and QR Code Monster SDXL ControlNet.
His pipeline:
Static Images – Forge UI.
Upscaled with Leonardo AI universal upscaler.
Animated with Runway ML and Minimax.
Video upscale – Topaz Video AI.
Composited in Adobe Premiere.
Juggernaut Xl download here:
https://civitai.com/models/133005/juggernaut-xl
QR Code Monster SDXL:
https://civitai.com/models/197247?modelVersionId=221829
COLOR
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Virtual Production volumes study
Read more: Virtual Production volumes studyColor Fidelity in LED Volumes
https://theasc.com/articles/color-fidelity-in-led-volumesVirtual Production Glossary
https://vpglossary.com/What is Virtual Production – In depth analysis
https://www.leadingledtech.com/what-is-a-led-virtual-production-studio-in-depth-technical-analysis/A comparison of LED panels for use in Virtual Production:
Findings and recommendations
https://eprints.bournemouth.ac.uk/36826/1/LED_Comparison_White_Paper%281%29.pdf -
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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Photography Basics : Spectral Sensitivity Estimation Without a Camera
Read more: Photography Basics : Spectral Sensitivity Estimation Without a Camerahttps://color-lab-eilat.github.io/Spectral-sensitivity-estimation-web/
A number of problems in computer vision and related fields would be mitigated if camera spectral sensitivities were known. As consumer cameras are not designed for high-precision visual tasks, manufacturers do not disclose spectral sensitivities. Their estimation requires a costly optical setup, which triggered researchers to come up with numerous indirect methods that aim to lower cost and complexity by using color targets. However, the use of color targets gives rise to new complications that make the estimation more difficult, and consequently, there currently exists no simple, low-cost, robust go-to method for spectral sensitivity estimation that non-specialized research labs can adopt. Furthermore, even if not limited by hardware or cost, researchers frequently work with imagery from multiple cameras that they do not have in their possession.
To provide a practical solution to this problem, we propose a framework for spectral sensitivity estimation that not only does not require any hardware (including a color target), but also does not require physical access to the camera itself. Similar to other work, we formulate an optimization problem that minimizes a two-term objective function: a camera-specific term from a system of equations, and a universal term that bounds the solution space.
Different than other work, we utilize publicly available high-quality calibration data to construct both terms. We use the colorimetric mapping matrices provided by the Adobe DNG Converter to formulate the camera-specific system of equations, and constrain the solutions using an autoencoder trained on a database of ground-truth curves. On average, we achieve reconstruction errors as low as those that can arise due to manufacturing imperfections between two copies of the same camera. We provide predicted sensitivities for more than 1,000 cameras that the Adobe DNG Converter currently supports, and discuss which tasks can become trivial when camera responses are available.

LIGHTING
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Custom bokeh in a raytraced DOF render
Read more: Custom bokeh in a raytraced DOF renderTo achieve a custom pinhole camera effect with a custom bokeh in Arnold Raytracer, you can follow these steps:
- Set the render camera with a focal length around 50 (or as needed)
- Set the F-Stop to a high value (e.g., 22).
- Set the focus distance as you require
- Turn on DOF
- Place a plane a few cm in front of the camera.
- Texture the plane with a transparent shape at the center of it. (Transmission with no specular roughness)
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Light properties
Read more: Light propertiesHow It Works – Issue 114
https://www.howitworksdaily.com/ -
ICLight – Krea and ComfyUI light editing
Read more: ICLight – Krea and ComfyUI light editinghttps://drive.google.com/drive/folders/16Aq1mqZKP-h8vApaN4FX5at3acidqPUv
https://github.com/lllyasviel/IC-Light
https://generativematte.blogspot.com/2025/03/comfyui-ic-light-relighting-exploration.html

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