Size. Mr. White (Harvey Keitel) on the right. Focus. He’s one of the two objects in focus. Lighting. Mr. White is large and in focus and Mr. Pink (Steve Buscemi) is highlighted by a shaft of light. Color. Both are black and white but the read on Mr. White’s shirt now really stands out.
nearly 140 statues at the booth from licenses including DC Comics, Lord of the Rings, Uncharted, The Last of Us, Bloodborne, Demon Souls, God of War, Jurassic Park, Godzilla, Predator, Aliens, Transformers, Berserk, Evangelion, My Hero Academia, Chainsaw Man, Attack on Titan, the DC movie universe, X-Men, Spider-man and much more
A 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.
The most common use of polarized technology is to reduce lighting complexity on the subject. Details such as glare and hard edges are not removed, but greatly reduced.
The 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.
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.
The Manuka rendering architecture has been designed in the spirit of the classic reyes rendering architecture. In its core, reyes is based on stochastic rasterisation of micropolygons, facilitating depth of field, motion blur, high geometric complexity,and programmable shading.
This is commonly achieved with Monte Carlo path tracing, using a paradigm often called shade-on-hit, in which the renderer alternates tracing rays with running shaders on the various ray hits. The shaders take the role of generating the inputs of the local material structure which is then used bypath sampling logic to evaluate contributions and to inform what further rays to cast through the scene.
Over the years, however, the expectations have risen substantially when it comes to image quality. Computing pictures which are indistinguishable from real footage requires accurate simulation of light transport, which is most often performed using some variant of Monte Carlo path tracing. Unfortunately this paradigm requires random memory accesses to the whole scene and does not lend itself well to a rasterisation approach at all.
Manuka is both a uni-directional and bidirectional path tracer and encompasses multiple importance sampling (MIS). Interestingly, and importantly for production character skin work, it is the first major production renderer to incorporate spectral MIS in the form of a new ‘Hero Spectral Sampling’ technique, which was recently published at Eurographics Symposium on Rendering 2014.
Manuka propose a shade-before-hit paradigm in-stead and minimise I/O strain (and some memory costs) on the system, leveraging locality of reference by running pattern generation shaders before we execute light transport simulation by path sampling, “compressing” any bvh structure as needed, and as such also limiting duplication of source data.
The difference with reyes is that instead of baking colors into the geometry like in Reyes, manuka bakes surface closures. This means that light transport is still calculated with path tracing, but all texture lookups etc. are done up-front and baked into the geometry.
The main drawback with this method is that geometry has to be tessellated to its highest, stable topology before shading can be evaluated properly. As such, the high cost to first pixel. Even a basic 4 vertices square becomes a much more complex model with this approach.
Manuka use the RenderMan Shading Language (rsl) for programmable shading [Pixar Animation Studios 2015], but we do not invoke rsl shaders when intersecting a ray with a surface (often called shade-on-hit). Instead, we pre-tessellate and pre-shade all the input geometry in the front end of the renderer.
This way, we can efficiently order shading computations to sup-port near-optimal texture locality, vectorisation, and parallelism. This system avoids repeated evaluation of shaders at the same surface point, and presents a minimal amount of memory to be accessed during light transport time. An added benefit is that the acceleration structure for ray tracing (abounding volume hierarchy, bvh) is built once on the final tessellated geometry, which allows us to ray trace more efficiently than multi-level bvhs and avoids costly caching of on-demand tessellated micropolygons and the associated scheduling issues.
For the shading reasons above, in terms of AOVs, the studio approach is to succeed at combining complex shading with ray paths in the render rather than pass a multi-pass render to compositing.
For the Spectral Rendering component. The light transport stage is fully spectral, using a continuously sampled wavelength which is traced with each path and used to apply the spectral camera sensitivity of the sensor. This allows for faithfully support any degree of observer metamerism as the camera footage they are intended to match as well as complex materials which require wavelength dependent phenomena such as diffraction, dispersion, interference, iridescence, or chromatic extinction and Rayleigh scattering in participating media.
As opposed to the original reyes paper, we use bilinear interpolation of these bsdf inputs later when evaluating bsdfs per pathv ertex during light transport4. This improves temporal stability of geometry which moves very slowly with respect to the pixel raster
In terms of the pipeline, everything rendered at Weta was already completely interwoven with their deep data pipeline. Manuka very much was written with deep data in mind. Here, Manuka not so much extends the deep capabilities, rather it fully matches the already extremely complex and powerful setup Weta Digital already enjoy with RenderMan. For example, an ape in a scene can be selected, its ID is available and a NUKE artist can then paint in 3D say a hand and part of the way up the neutral posed ape.
We called our system Manuka, as a respectful nod to reyes: we had heard a story froma former ILM employee about how reyes got its name from how fond the early Pixar people were of their lunches at Point Reyes, and decided to name our system after our surrounding natural environment, too. Manuka is a kind of tea tree very common in New Zealand which has very many very small leaves, in analogy to micropolygons ina tree structure for ray tracing. It also happens to be the case that Weta Digital’s main site is on Manuka Street.
In color technology, color depth also known as bit depth, is either the number of bits used to indicate the color of a single pixel, OR the number of bits used for each color component of a single pixel.
When referring to a pixel, the concept can be defined as bits per pixel (bpp).
When referring to a color component, the concept can be defined as bits per component, bits per channel, bits per color (all three abbreviated bpc), and also bits per pixel component, bits per color channel or bits per sample (bps). Modern standards tend to use bits per component, but historical lower-depth systems used bits per pixel more often.
Color depth is only one aspect of color representation, expressing the precision with which the amount of each primary can be expressed; the other aspect is how broad a range of colors can be expressed (the gamut). The definition of both color precision and gamut is accomplished with a color encoding specification which assigns a digital code value to a location in a color space.
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.
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).
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.
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.
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.
A way to approximate complex lighting in ultra realistic renders.
All SH lighting techniques involve replacing parts of standard lighting equations with spherical functions that have been projected into frequency space using the spherical harmonics as a basis.
1 to 100% Stepless Dimming, 1500 Lux Brightness at 3.3′
LCD Info Screen. Powered by an L-series battery, D-Tap, or USB-C
Because the light has a variable color range of 3200 to 9500K, when the light is set to 5500K (daylight balanced) both sets of LEDs are on at full, providing the maximum brightness from this fixture when compared to using the light at 3200 or 9500K.
The LCD screen provides information on the fixture’s output as well as the charge state of the battery. The screen also indicates whether the adjustment knob is controlling brightness or color temperature. To switch from brightness to CCT or CCT to brightness, just apply a short press to the adjustment knob.
The included cold shoe ball joint adapter enables mounting the light to your camera’s accessory shoe via the 1/4″-20 threaded hole on the fixture. In addition, the bottom of the cold shoe foot features a 3/8″-16 threaded hole, and includes a 3/8″-16 to 1/4″-20 reducing bushing.
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