COMPOSITION
- 
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.) 
- 
Mastering Camera Shots and Angles: A Guide for FilmmakersRead more: Mastering Camera Shots and Angles: A Guide for Filmmakershttps://website.ltx.studio/blog/mastering-camera-shots-and-angles 1. Extreme Wide Shot  2. Wide Shot  3. Medium Shot  4. Close Up  5. Extreme Close Up  
- 
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 
DESIGN
- 
This legendary DC Comics style guide was nearly lost for years – now you can buy itRead more: This legendary DC Comics style guide was nearly lost for years – now you can buy ithttps://www.fastcompany.com/91133306/dc-comics-style-guide-was-lost-for-years-now-you-can-buy-it Reproduced from a rare original copy, the book features over 165 highly-detailed scans of the legendary art by José Luis García-López, with an introduction by Paul Levitz, former president of DC Comics. https://standardsmanual.com/products/1982-dc-comics-style-guide 
COLOR
- 
Paul Debevec, Chloe LeGendre, Lukas Lepicovsky – Jointly Optimizing Color Rendition and In-Camera Backgrounds in an RGB Virtual Production StageRead more: Paul Debevec, Chloe LeGendre, Lukas Lepicovsky – Jointly Optimizing Color Rendition and In-Camera Backgrounds in an RGB Virtual Production Stagehttps://arxiv.org/pdf/2205.12403.pdf RGB LEDs vs RGBWP (RGB + lime + phospor converted amber) LEDs Local copy: 
 
- 
Virtual Production volumes studyRead 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
- 
THOMAS MANSENCAL – The Apparent Simplicity of RGB RenderingRead more: THOMAS MANSENCAL – The Apparent Simplicity of RGB Renderinghttps://thomasmansencal.substack.com/p/the-apparent-simplicity-of-rgb-rendering The primary goal of physically-based rendering (PBR) is to create a simulation that accurately reproduces the imaging process of electro-magnetic spectrum radiation incident to an observer. This simulation should be indistinguishable from reality for a similar observer. Because a camera is not sensitive to incident light the same way than a human observer, the images it captures are transformed to be colorimetric. A project might require infrared imaging simulation, a portion of the electro-magnetic spectrum that is invisible to us. Radically different observers might image the same scene but the act of observing does not change the intrinsic properties of the objects being imaged. Consequently, the physical modelling of the virtual scene should be independent of the observer. 
- 
Capturing textures albedoRead more: Capturing textures albedoBuilding a Portable PBR Texture Scanner by Stephane Lb 
 http://rtgfx.com/pbr-texture-scanner/How To Split Specular And Diffuse In Real Images, by John Hable 
 http://filmicworlds.com/blog/how-to-split-specular-and-diffuse-in-real-images/Capturing albedo using a Spectralon 
 https://www.activision.com/cdn/research/Real_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdfReal_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdf Spectralon is a teflon-based pressed powderthat comes closest to being a pure Lambertian diffuse material that reflects 100% of all light. If we take an HDR photograph of the Spectralon alongside the material to be measured, we can derive thediffuse albedo of that material. The process to capture diffuse reflectance is very similar to the one outlined by Hable. 1. We put a linear polarizing filter in front of the camera lens and a second linear polarizing filterin front of a modeling light or a flash such that the two filters are oriented perpendicular to eachother, i.e. cross polarized. 2. We place Spectralon close to and parallel with the material we are capturing and take brack-eted shots of the setup7. Typically, we’ll take nine photographs, from -4EV to +4EV in 1EVincrements. 3. We convert the bracketed shots to a linear HDR image. We found that many HDR packagesdo not produce an HDR image in which the pixel values are linear. PTGui is an example of apackage which does generate a linear HDR image. At this point, because of the cross polarization,the image is one of surface diffuse response. 4. We open the file in Photoshop and normalize the image by color picking the Spectralon, filling anew layer with that color and setting that layer to “Divide”. This sets the Spectralon to 1 in theimage. All other color values are relative to this so we can consider them as diffuse albedo. 
- 
Photography basics: Color Temperature and White BalanceRead more: Photography basics: Color Temperature and White BalanceColor Temperature of a light source describes the spectrum of light which is radiated from a theoretical “blackbody” (an ideal physical body that absorbs all radiation and incident light – neither reflecting it nor allowing it to pass through) with a given surface temperature. https://en.wikipedia.org/wiki/Color_temperature Or. Most simply it is a method of describing the color characteristics of light through a numerical value that corresponds to the color emitted by a light source, measured in degrees of Kelvin (K) on a scale from 1,000 to 10,000. More accurately. The color temperature of a light source is the temperature of an ideal backbody that radiates light of comparable hue to that of the light source. (more…)
LIGHTING
- 
IES Light Profiles and editing softwareRead more: IES Light Profiles and editing softwarehttp://www.derekjenson.com/3d-blog/ies-light-profiles https://ieslibrary.com/en/browse#ies https://leomoon.com/store/shaders/ies-lights-pack https://docs.arnoldrenderer.com/display/a5afmug/ai+photometric+light IES profiles are useful for creating life-like lighting, as they can represent the physical distribution of light from any light source. The IES format was created by the Illumination Engineering Society, and most lighting manufacturers provide IES profile for the lights they manufacture. 
- 
Open Source Nvidia OmniverseRead 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. 
- 
Outpost VFX lighting tipsRead more: Outpost VFX lighting tipswww.outpost-vfx.com/en/news/18-pro-tips-and-tricks-for-lighting Get as much information regarding your plate lighting as possible - Always use a reference
- Replicate what is happening in real life
- Invest into a solid HDRI
- Start Simple
- Observe real world lighting, photography and cinematography
- Don’t neglect the theory
- Learn the difference between realism and photo-realism.
- Keep your scenes organised
  
- 
Composition – cinematography Cheat SheetRead more: Composition – cinematography Cheat Sheet Where is our eye attracted first? Why? Size. Focus. Lighting. Color. 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.
 (more…)
 What type of lighting?
COLLECTIONS
| Featured AI
| Design And Composition 
| Explore posts  
POPULAR SEARCHES
unreal | pipeline | virtual production | free | learn | photoshop | 360 | macro | google | nvidia | resolution | open source | hdri | real-time | photography basics | nuke
FEATURED POSTS
- 
Mastering The Art Of Photography – PixelSham.com Photography Basics
- 
How to paint a boardgame miniatures
- 
WhatDreamsCost Spline-Path-Control – Create motion controls for ComfyUI
- 
What the Boeing 737 MAX’s crashes can teach us about production business – the effects of commoditisation
- 
Image rendering bit depth
- 
Survivorship Bias: The error resulting from systematically focusing on successes and ignoring failures. How a young statistician saved his planes during WW2.
- 
Most common ways to smooth 3D prints
- 
Photography basics: Shutter angle and shutter speed and motion blur
Social Links
DISCLAIMER – Links and images on this website may be protected by the respective owners’ copyright. All data submitted by users through this site shall be treated as freely available to share.













































