COMPOSITION
DESIGN
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How to paint a boardgame miniaturesRead more: How to paint a boardgame miniaturesSteps: - soap wash cleaning
- primer
- base-coat layer (black/white)
- detailing
- washing aka shade (could be done after highlighting)
- highlights aka dry brushing (could be done after washing)
- varnish (gloss/satin/matte)
 
COLOR
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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
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sRGB vs REC709 – An introduction and FFmpeg implementationsRead more: sRGB vs REC709 – An introduction and FFmpeg implementations 1. Basic Comparison- What they are
- sRGB: A standard “web”/computer-display RGB color space defined by IEC 61966-2-1. It’s used for most monitors, cameras, printers, and the vast majority of images on the Internet.
- Rec. 709: An HD-video color space defined by ITU-R BT.709. It’s the go-to standard for HDTV broadcasts, Blu-ray discs, and professional video pipelines.
 
- Why they exist
- sRGB: Ensures consistent colors across different consumer devices (PCs, phones, webcams).
- Rec. 709: Ensures consistent colors across video production and playback chains (cameras → editing → broadcast → TV).
 
- What you’ll see
- On your desktop or phone, images tagged sRGB will look “right” without extra tweaking.
- On an HDTV or video-editing timeline, footage tagged Rec. 709 will display accurate contrast and hue on broadcast-grade monitors.
 
 
 2. Digging DeeperFeature sRGB Rec. 709 White point D65 (6504 K), same for both D65 (6504 K) Primaries (x,y) R: (0.640, 0.330) G: (0.300, 0.600) B: (0.150, 0.060) R: (0.640, 0.330) G: (0.300, 0.600) B: (0.150, 0.060) Gamut size Identical triangle on CIE 1931 chart Identical to sRGB Gamma / transfer Piecewise curve: approximate 2.2 with linear toe Pure power-law γ≈2.4 (often approximated as 2.2 in practice) Matrix coefficients N/A (pure RGB usage) Y = 0.2126 R + 0.7152 G + 0.0722 B (Rec. 709 matrix) Typical bit-depth 8-bit/channel (with 16-bit variants) 8-bit/channel (10-bit for professional video) Usage metadata Tagged as “sRGB” in image files (PNG, JPEG, etc.) Tagged as “bt709” in video containers (MP4, MOV) Color range Full-range RGB (0–255) Studio-range Y′CbCr (Y′ [16–235], Cb/Cr [16–240]) 
 Why the Small Differences Matter(more…)
- What they are
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Victor Perez – ACES Color Management in DaVinci ResolveRead more: Victor Perez – ACES Color Management in DaVinci Resolvehttpv://www.youtube.com/watch?v=i–TS88-6xA 
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Colormaxxing – What if I told you that rgb(255, 0, 0) is not actually the reddest red you can have in your browser?Read more: Colormaxxing – What if I told you that rgb(255, 0, 0) is not actually the reddest red you can have in your browser?https://karuna.dev/colormaxxing https://webkit.org/blog-files/color-gamut/comparison.html https://oklch.com/#70,0.1,197,100  
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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. 
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FXGuide – ACES 2.0 with ILM’s Alex FryRead more: FXGuide – ACES 2.0 with ILM’s Alex Fryhttps://draftdocs.acescentral.com/background/whats-new/ ACES 2.0 is the second major release of the components that make up the ACES system. The most significant change is a new suite of rendering transforms whose design was informed by collected feedback and requests from users of ACES 1. The changes aim to improve the appearance of perceived artifacts and to complete previously unfinished components of the system, resulting in a more complete, robust, and consistent product. Highlights of the key changes in ACES 2.0 are as follows: - New output transforms, including:
- A less aggressive tone scale
- More intuitive controls to create custom outputs to non-standard displays
- Robust gamut mapping to improve perceptual uniformity
- Improved performance of the inverse transforms
 
- Enhanced AMF specification
- An updated specification for ACES Transform IDs
- OpenEXR compression recommendations
- Enhanced tools for generating Input Transforms and recommended procedures for characterizing prosumer cameras
- Look Transform Library
- Expanded documentation
 Rendering TransformThe most substantial change in ACES 2.0 is a complete redesign of the rendering transform. ACES 2.0 was built as a unified system, rather than through piecemeal additions. Different deliverable outputs “match” better and making outputs to display setups other than the provided presets is intended to be user-driven. The rendering transforms are less likely to produce undesirable artifacts “out of the box”, which means less time can be spent fixing problematic images and more time making pictures look the way you want. Key design goals- Improve consistency of tone scale and provide an easy to use parameter to allow for outputs between preset dynamic ranges
- Minimize hue skews across exposure range in a region of same hue
- Unify for structural consistency across transform type
- Easy to use parameters to create outputs other than the presets
- Robust gamut mapping to improve harsh clipping artifacts
- Fill extents of output code value cube (where appropriate and expected)
- Invertible – not necessarily reversible, but Output > ACES > Output round-trip should be possible
- Accomplish all of the above while maintaining an acceptable “out-of-the box” rendering
 
- New output transforms, including:
LIGHTING
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Free HDRI librariesRead more: Free HDRI librariesnoahwitchell.com 
 http://www.noahwitchell.com/freebieslocationtextures.com 
 https://locationtextures.com/panoramas/maxroz.com 
 https://www.maxroz.com/hdri/listHDRI Haven 
 https://hdrihaven.com/Poly Haven 
 https://polyhaven.com/hdrisDomeble 
 https://www.domeble.com/IHDRI 
 https://www.ihdri.com/HDRMaps 
 https://hdrmaps.com/NoEmotionHdrs.net 
 http://noemotionhdrs.net/hdrday.htmlOpenFootage.net 
 https://www.openfootage.net/hdri-panorama/HDRI-hub 
 https://www.hdri-hub.com/hdrishop/hdri.zwischendrin 
 https://www.zwischendrin.com/en/browse/hdriLonger list here: https://cgtricks.com/list-sites-free-hdri/ 
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Magnific.ai Relight – change the entire lighting of a sceneRead more: Magnific.ai Relight – change the entire lighting of a sceneIt’s a new Magnific spell that allows you to change the entire lighting of a scene and, optionally, the background with just: 1/ A prompt OR 
 2/ A reference image OR
 3/ A light map (drawing your own lights)https://x.com/javilopen/status/1805274155065176489 
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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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HDRI shooting and editing by Xuan Prada and Greg ZaalRead more: HDRI shooting and editing by Xuan Prada and Greg Zaalwww.xuanprada.com/blog/2014/11/3/hdri-shooting http://blog.gregzaal.com/2016/03/16/make-your-own-hdri/ http://blog.hdrihaven.com/how-to-create-high-quality-hdri/  Shooting checklist - Full coverage of the scene (fish-eye shots)
- Backplates for look-development (including ground or floor)
- Macbeth chart for white balance
- Grey ball for lighting calibration
- Chrome ball for lighting orientation
- Basic scene measurements
- Material samples
- Individual HDR artificial lighting sources if required
 Methodology (more…)
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Capturing the world in HDR for real time projects – Call of Duty: Advanced WarfareRead more: Capturing the world in HDR for real time projects – Call of Duty: Advanced WarfareReal-World Measurements for Call of Duty: Advanced Warfare www.activision.com/cdn/research/Real_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdf Local version Real_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdf 
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