COMPOSITION
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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
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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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What is a Gamut or Color Space and why do I need to know about CIERead more: What is a Gamut or Color Space and why do I need to know about CIE  http://www.xdcam-user.com/2014/05/what-is-a-gamut-or-color-space-and-why-do-i-need-to-know-about-it/ In video terms gamut is normally related to as the full range of colours and brightness that can be either captured or displayed. (more…)
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Victor Perez – The Color Management Handbook for Visual Effects ArtistsRead more: Victor Perez – The Color Management Handbook for Visual Effects ArtistsDigital Color Principles, Color Management Fundamentals & ACES Workflows 
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Björn Ottosson – How software gets color wrongRead more: Björn Ottosson – How software gets color wronghttps://bottosson.github.io/posts/colorwrong/ Most software around us today are decent at accurately displaying colors. Processing of colors is another story unfortunately, and is often done badly. To understand what the problem is, let’s start with an example of three ways of blending green and magenta: - Perceptual blend – A smooth transition using a model designed to mimic human perception of color. The blending is done so that the perceived brightness and color varies smoothly and evenly.
- Linear blend – A model for blending color based on how light behaves physically. This type of blending can occur in many ways naturally, for example when colors are blended together by focus blur in a camera or when viewing a pattern of two colors at a distance.
- sRGB blend – This is how colors would normally be blended in computer software, using sRGB to represent the colors.
 Let’s look at some more examples of blending of colors, to see how these problems surface more practically. The examples use strong colors since then the differences are more pronounced. This is using the same three ways of blending colors as the first example. Instead of making it as easy as possible to work with color, most software make it unnecessarily hard, by doing image processing with representations not designed for it. Approximating the physical behavior of light with linear RGB models is one easy thing to do, but more work is needed to create image representations tailored for image processing and human perception. Also see: 
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Tim Kang – calibrated white light values in sRGB color spaceRead more: Tim Kang – calibrated white light values in sRGB color space8bit sRGB encoded 
 2000K 255 139 22
 2700K 255 172 89
 3000K 255 184 109
 3200K 255 190 122
 4000K 255 211 165
 4300K 255 219 178
 D50 255 235 205
 D55 255 243 224
 D5600 255 244 227
 D6000 255 249 240
 D65 255 255 255
 D10000 202 221 255
 D20000 166 196 2558bit Rec709 Gamma 2.4 
 2000K 255 145 34
 2700K 255 177 97
 3000K 255 187 117
 3200K 255 193 129
 4000K 255 214 170
 4300K 255 221 182
 D50 255 236 208
 D55 255 243 226
 D5600 255 245 229
 D6000 255 250 241
 D65 255 255 255
 D10000 204 222 255
 D20000 170 199 2558bit Display P3 encoded 
 2000K 255 154 63
 2700K 255 185 109
 3000K 255 195 127
 3200K 255 201 138
 4000K 255 219 176
 4300K 255 225 187
 D50 255 239 212
 D55 255 245 228
 D5600 255 246 231
 D6000 255 251 242
 D65 255 255 255
 D10000 208 223 255
 D20000 175 199 25510bit Rec2020 PQ (100 nits) 
 2000K 520 435 273
 2700K 520 466 358
 3000K 520 475 384
 3200K 520 480 399
 4000K 520 495 446
 4300K 520 500 458
 D50 520 510 482
 D55 520 514 497
 D5600 520 514 500
 D6000 520 517 509
 D65 520 520 520
 D10000 479 489 520
 D20000 448 464 520
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Willem Zwarthoed – Aces gamut in VFX production pdfRead more: Willem Zwarthoed – Aces gamut in VFX production pdfhttps://www.provideocoalition.com/color-management-part-12-introducing-aces/ Local copy: 
 https://www.slideshare.net/hpduiker/acescg-a-common-color-encoding-for-visual-effects-applications 
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Scene Referred vs Display Referred color workflowsRead more: Scene Referred vs Display Referred color workflowsDisplay Referred it is tied to the target hardware, as such it bakes color requirements into every type of media output request. Scene Referred uses a common unified wide gamut and targeting audience through CDL and DI libraries instead. 
 So that color information stays untouched and only “transformed” as/when needed.Sources: 
 – Victor Perez – Color Management Fundamentals & ACES Workflows in Nuke
 – https://z-fx.nl/ColorspACES.pdf
 – Wicus
 
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PBR Color Reference List for Materials – by Grzegorz BaranRead more: PBR Color Reference List for Materials – by Grzegorz Baran“The list should be helpful for every material artist who work on PBR materials as it contains over 200 color values measured with PCE-RGB2 1002 Color Spectrometer device and presented in linear and sRGB (2.2) gamma space. All color values, HUE and Saturation in this list come from measurements taken with PCE-RGB2 1002 Color Spectrometer device and are presented in linear and sRGB (2.2) gamma space (more info at the end of this video) I calculated Relative Luminance and Luminance values based on captured color using my own equation which takes color based luminance perception into consideration. Bare in mind that there is no ‘one’ color per substance as nothing in nature is even 100% uniform and any value in +/-10% range from these should be considered as correct one. Therefore this list should be always considered as a color reference for material’s albedos, not ulitimate and absolute truth.“ 
LIGHTING
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Debayer – A free command line tool to convert camera raw images into scene-linear exrRead more: Debayer – A free command line tool to convert camera raw images into scene-linear exr https://github.com/jedypod/debayer The only required dependency is oiiotool. However other “debayer engines” are also supported. - OpenImageIO – oiiotool is used for converting debayered tif images to exr.
- Debayer Engines
- RawTherapee – Powerful raw development software used to decode raw images. High quality, good selection of debayer algorithms, and more advanced raw processing like chromatic aberration removal.
- LibRaw – dcraw_emu commandline utility included with LibRaw. Optional alternative for debayer. Simple, fast and effective.
- Darktable – Uses darktable-cli plus an xmp config to process.
- vkdt – uses vkdt-cli to debayer. Pretty experimental still. Uses Vulkan for image processing. Stupidly fast. Pretty limited.
 
 
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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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