http://www.amaanakram.com/lightingT/part1.htm

The goals of lighting in 3D computer graphics are more or less the same as those of real world lighting.

 

Lighting serves a basic function of bringing out, or pushing back the shapes of objects visible from the camera’s view.
It gives a two-dimensional image on the monitor an illusion of the third dimension-depth.

But it does not just stop there. It gives an image its personality, its character. A scene lit in different ways can give a feeling of happiness, of sorrow, of fear etc., and it can do so in dramatic or subtle ways. Along with personality and character, lighting fills a scene with emotion that is directly transmitted to the viewer.

 

Trying to simulate a real environment in an artificial one can be a daunting task. But even if you make your 3D rendering look absolutely photo-realistic, it doesn’t guarantee that the image carries enough emotion to elicit a “wow” from the people viewing it.

 

Making 3D renderings photo-realistic can be hard. Putting deep emotions in them can be even harder. However, if you plan out your lighting strategy for the mood and emotion that you want your rendering to express, you make the process easier for yourself.

 

Each light source can be broken down in to 4 distinct components and analyzed accordingly.

· Intensity
· Direction
· Color
· Size

 

The overall thrust of this writing is to produce photo-realistic images by applying good lighting techniques.

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.

en.wikipedia.org/wiki/Polarizing_filter_(photography)

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.

This method is usually used in VFX to capture raw images with the least amount of specular diffusion or pollution, thus allowing artists to infer detail back through typical shading and rendering techniques and on demand.

Light reflected from a non-metallic surface becomes polarized; this effect is maximum at Brewster’s angle, about 56° from the vertical for common glass.

A polarizer rotated to pass only light polarized in the direction perpendicular to the reflected light will absorb much of it. This absorption allows glare reflected from, for example, a body of water or a road to be reduced. Reflections from shiny surfaces (e.g. vegetation, sweaty skin, water surfaces, glass) are also reduced. This allows the natural color and detail of what is beneath to come through. Reflections from a window into a dark interior can be much reduced, allowing it to be seen through. (The same effects are available for vision by using polarizing sunglasses.)

 

www.physicsclassroom.com/class/light/u12l1e.cfm

 

Some of the light coming from the sky is polarized (bees use this phenomenon for navigation). The electrons in the air molecules cause a scattering of sunlight in all directions. This explains why the sky is not dark during the day. But when looked at from the sides, the light emitted from a specific electron is totally polarized.[3] Hence, a picture taken in a direction at 90 degrees from the sun can take advantage of this polarization.

Use of a polarizing filter, in the correct direction, will filter out the polarized component of skylight, darkening the sky; the landscape below it, and clouds, will be less affected, giving a photograph with a darker and more dramatic sky, and emphasizing the clouds.

 

There are two types of polarizing filters readily available, linear and “circular”, which have exactly the same effect photographically. But the metering and auto-focus sensors in certain cameras, including virtually all auto-focus SLRs, will not work properly with linear polarizers because the beam splitters used to split off the light for focusing and metering are polarization-dependent.

 

Polarizing filters reduce the light passed through to the film or sensor by about one to three stops (2–8×) depending on how much of the light is polarized at the filter angle selected. Auto-exposure cameras will adjust for this by widening the aperture, lengthening the time the shutter is open, and/or increasing the ASA/ISO speed of the camera.

 

www.adorama.com/alc/nd-filter-vs-polarizer-what%25e2%2580%2599s-the-difference

 

Neutral Density (ND) filters help control image exposure by reducing the light that enters the camera so that you can have more control of your depth of field and shutter speed. Polarizers or polarizing filters work in a similar way, but the difference is that they selectively let light waves of a certain polarization pass through. This effect helps create more vivid colors in an image, as well as manage glare and reflections from water surfaces. Both are regarded as some of the best filters for landscape and travel photography as they reduce the dynamic range in high-contrast images, thus enabling photographers to capture more realistic and dramatic sceneries.

 

shopfelixgray.com/blog/polarized-vs-non-polarized-sunglasses/

 

www.eyebuydirect.com/blog/difference-polarized-nonpolarized-sunglasses/

hackaday.com/2015/02/07/how-green-screen-worked-before-computers/

 

www.newtek.com/blog/tips/best-green-screen-materials/

 

www.chromawall.com/blog//chroma-key-green

 

 

Chroma Key Green, the color of green screens is also known as Chroma Green and is valued at approximately 354C in the Pantone color matching system (PMS).

 

Chroma Green can be broken down in many different ways. Here is green screen green as other values useful for both physical and digital production:

 

Green Screen as RGB Color Value: 0, 177, 64
Green Screen as CMYK Color Value: 81, 0, 92, 0
Green Screen as Hex Color Value: #00b140
Green Screen as Websafe Color Value: #009933

 

Chroma Key Green is reasonably close to an 18% gray reflectance.

 

Illuminate your green screen with an uniform source with less than 2/3 EV variation.
The level of brightness at any given f-stop should be equivalent to a 90% white card under the same lighting.