COMPOSITION
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StudioBinder – Roger Deakins on How to Choose a Camera Lens — Cinematography Composition TechniquesRead more: StudioBinder – Roger Deakins on How to Choose a Camera Lens — Cinematography Composition Techniqueshttps://www.studiobinder.com/blog/camera-lens-buying-guide/ https://www.studiobinder.com/blog/e-books/camera-lenses-explained-volume-1-ebook 
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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. 
DESIGN
COLOR
LIGHTING
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Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by AllegorithmicRead more: Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by Allegorithmicacademy.substance3d.com/courses/the-pbr-guide-part-1 academy.substance3d.com/courses/the-pbr-guide-part-2 Local copy:
 
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GretagMacbeth Color Checker Numeric Values and Middle GrayRead 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 (more…)
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How to Direct and Edit a Fight Scene for Rhythm and PacingRead more: How to Direct and Edit a Fight Scene for Rhythm and Pacingwww.premiumbeat.com/blog/directing-fight-scene-cinematography/ 1- Frame the action 2- Stage the action 3- Use camera movements 4- Set a rhythm 5- Control the speed of the action 
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DiffusionLight: HDRI Light Probes for Free by Painting a Chrome BallRead more: DiffusionLight: HDRI Light Probes for Free by Painting a Chrome Ballhttps://diffusionlight.github.io/ https://github.com/DiffusionLight/DiffusionLight https://github.com/DiffusionLight/DiffusionLight?tab=MIT-1-ov-file#readme https://colab.research.google.com/drive/15pC4qb9mEtRYsW3utXkk-jnaeVxUy-0S “a simple yet effective technique to estimate lighting in a single input image. Current techniques rely heavily on HDR panorama datasets to train neural networks to regress an input with limited field-of-view to a full environment map. However, these approaches often struggle with real-world, uncontrolled settings due to the limited diversity and size of their datasets. To address this problem, we leverage diffusion models trained on billions of standard images to render a chrome ball into the input image. Despite its simplicity, this task remains challenging: the diffusion models often insert incorrect or inconsistent objects and cannot readily generate images in HDR format. Our research uncovers a surprising relationship between the appearance of chrome balls and the initial diffusion noise map, which we utilize to consistently generate high-quality chrome balls. We further fine-tune an LDR difusion model (Stable Diffusion XL) with LoRA, enabling it to perform exposure bracketing for HDR light estimation. Our method produces convincing light estimates across diverse settings and demonstrates superior generalization to in-the-wild scenarios.”  
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