COMPOSITION
DESIGN
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Disco Diffusion V4.1 Google Colab, Dall-E, Starryai – creating images with AI
Read more: Disco Diffusion V4.1 Google Colab, Dall-E, Starryai – creating images with AIDisco Diffusion (DD) is a Google Colab Notebook which leverages an AI Image generating technique called CLIP-Guided Diffusion to allow you to create compelling and beautiful images from just text inputs. Created by Somnai, augmented by Gandamu, and building on the work of RiversHaveWings, nshepperd, and many others.
Phone app: https://www.starryai.com/
docs.google.com/document/d/1l8s7uS2dGqjztYSjPpzlmXLjl5PM3IGkRWI3IiCuK7g
colab.research.google.com/drive/1sHfRn5Y0YKYKi1k-ifUSBFRNJ8_1sa39
Colab, or “Colaboratory”, allows you to write and execute Python in your browser, with
– Zero configuration required
– Access to GPUs free of charge
– Easy sharinghttps://80.lv/articles/a-beautiful-roman-villa-made-with-disco-diffusion-5-2/
COLOR
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Björn Ottosson – How software gets color wrong
Read 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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SecretWeapons MixBox – a practical library for paint-like digital color mixing
Read more: SecretWeapons MixBox – a practical library for paint-like digital color mixingInternally, Mixbox treats colors as real-life pigments using the Kubelka & Munk theory to predict realistic color behavior.
https://scrtwpns.com/mixbox/painter/
https://scrtwpns.com/mixbox.pdf
https://github.com/scrtwpns/mixbox
https://scrtwpns.com/mixbox/docs/
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Photography basics: Color Temperature and White Balance
Read 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.
As such, the color temperature of a light source is a numerical measurement of its color appearance. It is based on the principle that any object will emit light if it is heated to a high enough temperature, and that the color of that light will shift in a predictable manner as the temperature is increased. The system is based on the color changes of a theoretical “blackbody radiator” as it is heated from a cold black to a white hot state.
So, why do we measure the hue of the light as a “temperature”? This was started in the late 1800s, when the British physicist William Kelvin heated a block of carbon. It glowed in the heat, producing a range of different colors at different temperatures. The black cube first produced a dim red light, increasing to a brighter yellow as the temperature went up, and eventually produced a bright blue-white glow at the highest temperatures. In his honor, Color Temperatures are measured in degrees Kelvin, which are a variation on Centigrade degrees. Instead of starting at the temperature water freezes, the Kelvin scale starts at “absolute zero,” which is -273 Centigrade.
More about black bodies here: https://www.pixelsham.com/2013/03/14/black-body-color
Details in the post
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No one could see the colour blue until modern times
https://www.businessinsider.com/what-is-blue-and-how-do-we-see-color-2015-2
The way that humans see the world… until we have a way to describe something, even something so fundamental as a colour, we may not even notice that something it’s there.
Ancient languages didn’t have a word for blue — not Greek, not Chinese, not Japanese, not Hebrew, not Icelandic cultures. And without a word for the colour, there’s evidence that they may not have seen it at all.
https://www.wnycstudios.org/story/211119-colors
Every language first had a word for black and for white, or dark and light. The next word for a colour to come into existence — in every language studied around the world — was red, the colour of blood and wine.
After red, historically, yellow appears, and later, green (though in a couple of languages, yellow and green switch places). The last of these colours to appear in every language is blue.
The only ancient culture to develop a word for blue was the Egyptians — and as it happens, they were also the only culture that had a way to produce a blue dye.
https://mymodernmet.com/shades-of-blue-color-history/
https://www.msn.com/en-us/news/technology/scientists-recreate-lost-recipes-for-a-5-000-year-old-egyptian-blue-dye/ar-AA1FXcj1
Assessment of process variability and color in synthesized and ancient Egyptian blue pigments | npj Heritage ScienceThe approximately 5,000-year-old dye wasn’t a single color, but instead encompassed a range of hues, from deep blues to duller grays and greens. Artisans first crafted Egyptian blue during the Fourth Dynasty (roughly 2613 to 2494 BCE) from recipes reliant on calcium-copper silicate. These techniques were later adopted by Romans in lieu of more expensive materials like lapis lazuli and turquoise. But the additional ingredient lists were lost to history by the time of the Renaissance.
McCloy’s team confirmed that cuprorivaite—the naturally occurring mineral equivalent to Egyptian blue—remains the primary color influence in each hue. Despite the presence of other components, Egyptian blue appears as a uniform color after the cuprorivaite becomes encased in colorless particles such as silicate during the heating process.Considered to be the first ever synthetically produced color pigment, Egyptian blue (also known as cuprorivaite) was created around 2,200 B.C. It was made from ground limestone mixed with sand and a copper-containing mineral, such as azurite or malachite, which was then heated between 1470 and 1650°F. The result was an opaque blue glass which then had to be crushed and combined with thickening agents such as egg whites to create a long-lasting paint or glaze.
If you think about it, blue doesn’t appear much in nature — there aren’t animals with blue pigments (except for one butterfly, Obrina Olivewing, all animals generate blue through light scattering), blue eyes are rare (also blue through light scattering), and blue flowers are mostly human creations. There is, of course, the sky, but is that really blue?
So before we had a word for it, did people not naturally see blue? Do you really see something if you don’t have a word for it?
A researcher named Jules Davidoff traveled to Namibia to investigate this, where he conducted an experiment with the Himba tribe, who speak a language that has no word for blue or distinction between blue and green. When shown a circle with 11 green squares and one blue, they couldn’t pick out which one was different from the others.
When looking at a circle of green squares with only one slightly different shade, they could immediately spot the different one. Can you?
Davidoff says that without a word for a colour, without a way of identifying it as different, it’s much harder for us to notice what’s unique about it — even though our eyes are physically seeing the blocks it in the same way.
Further research brought to wider discussions about color perception in humans. Everything that we make is based on the fact that humans are trichromatic. The television only has 3 colors. Our color printers have 3 different colors. But some people, and in specific some women seemed to be more sensible to color differences… mainly because they’re just more aware or – because of the job that they do.
Eventually this brought to the discovery of a small percentage of the population, referred to as tetrachromats, which developed an extra cone sensitivity to yellow, likely due to gene modifications.
The interesting detail about these is that even between tetrachromats, only the ones that had a reason to develop, label and work with extra color sensitivity actually developed the ability to use their native skills.
So before blue became a common concept, maybe humans saw it. But it seems they didn’t know they were seeing it.
If you see something yet can’t see it, does it exist? Did colours come into existence over time? Not technically, but our ability to notice them… may have…
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StudioBinder.com – CRI color rendering index
Read more: StudioBinder.com – CRI color rendering indexwww.studiobinder.com/blog/what-is-color-rendering-index
“The Color Rendering Index is a measurement of how faithfully a light source reveals the colors of whatever it illuminates, it describes the ability of a light source to reveal the color of an object, as compared to the color a natural light source would provide. The highest possible CRI is 100. A CRI of 100 generally refers to a perfect black body, like a tungsten light source or the sun. ”
www.pixelsham.com/2021/04/28/types-of-film-lights-and-their-efficiency
LIGHTING
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Magnific.ai Relight – change the entire lighting of a scene
Read 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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Beeble Switchlight’s Plugin for Foundry Nuke
https://www.cutout.pro/learn/beeble-switchlight/
https://www.switchlight-api.beeble.ai/pricing
https://www.switchlight-api.beeble.ai
https://github.com/beeble-ai/SwitchLight-Studio
https://beeble.ai/terms-of-use
https://www.switchlight-api.beeble.ai/docs
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Polarised vs unpolarized filtering
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/
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RawTherapee – a free, open source, cross-platform raw image and HDRi processing program
5.10 of this tool includes excellent tools to clean up cr2 and cr3 used on set to support HDRI processing.
Converting raw to AcesCG 32 bit tiffs with metadata. -
HDRI Median Cut plugin
www.hdrlabs.com/picturenaut/plugins.html
Note. The Median Cut algorithm is typically used for color quantization, which involves reducing the number of colors in an image while preserving its visual quality. It doesn’t directly provide a way to identify the brightest areas in an image. However, if you’re interested in identifying the brightest areas, you might want to look into other methods like thresholding, histogram analysis, or edge detection, through openCV for example.
Here is an openCV example:
# bottom left coordinates = 0,0 import numpy as np import cv2 # Load the HDR or EXR image image = cv2.imread('your_image_path.exr', cv2.IMREAD_UNCHANGED) # Load as-is without modification # Calculate the luminance from the HDR channels (assuming RGB format) luminance = np.dot(image[..., :3], [0.299, 0.587, 0.114]) # Set a threshold value based on estimated EV threshold_value = 2.4 # Estimated threshold value based on 4.8 EV # Apply the threshold to identify bright areas # The
luminance
array contains the calculated luminance values for each pixel in the image. # Thethreshold_value
is a user-defined value that represents a cutoff point, separating "bright" and "dark" areas in terms of perceived luminance.thresholded = (luminance > threshold_value) * 255 # Convert the thresholded image to uint8 for contour detection thresholded = thresholded.astype(np.uint8) # Find contours of the bright areas contours, _ = cv2.findContours(thresholded, cv2.RETR_EXTERNAL, cv2.CHAIN_APPROX_SIMPLE) # Create a list to store the bounding boxes of bright areas bright_areas = [] # Iterate through contours and extract bounding boxes for contour in contours: x, y, w, h = cv2.boundingRect(contour) # Adjust y-coordinate based on bottom-left origin y_bottom_left_origin = image.shape[0] - (y + h) bright_areas.append((x, y_bottom_left_origin, x + w, y_bottom_left_origin + h)) # Store as (x1, y1, x2, y2) # Print the identified bright areas print("Bright Areas (x1, y1, x2, y2):") for area in bright_areas: print(area)
More details
Luminance and Exposure in an EXR Image:
- An EXR (Extended Dynamic Range) image format is often used to store high dynamic range (HDR) images that contain a wide range of luminance values, capturing both dark and bright areas.
- Luminance refers to the perceived brightness of a pixel in an image. In an RGB image, luminance is often calculated using a weighted sum of the red, green, and blue channels, where different weights are assigned to each channel to account for human perception.
- In an EXR image, the pixel values can represent radiometrically accurate scene values, including actual radiance or irradiance levels. These values are directly related to the amount of light emitted or reflected by objects in the scene.
The luminance line is calculating the luminance of each pixel in the image using a weighted sum of the red, green, and blue channels. The three float values [0.299, 0.587, 0.114] are the weights used to perform this calculation.
These weights are based on the concept of luminosity, which aims to approximate the perceived brightness of a color by taking into account the human eye’s sensitivity to different colors. The values are often derived from the NTSC (National Television System Committee) standard, which is used in various color image processing operations.
Here’s the breakdown of the float values:
- 0.299: Weight for the red channel.
- 0.587: Weight for the green channel.
- 0.114: Weight for the blue channel.
The weighted sum of these channels helps create a grayscale image where the pixel values represent the perceived brightness. This technique is often used when converting a color image to grayscale or when calculating luminance for certain operations, as it takes into account the human eye’s sensitivity to different colors.
For the threshold, remember that the exact relationship between EV values and pixel values can depend on the tone-mapping or normalization applied to the HDR image, as well as the dynamic range of the image itself.
To establish a relationship between exposure and the threshold value, you can consider the relationship between linear and logarithmic scales:
- Linear and Logarithmic Scales:
- Exposure values in an EXR image are often represented in logarithmic scales, such as EV (exposure value). Each increment in EV represents a doubling or halving of the amount of light captured.
- Threshold values for luminance thresholding are usually linear, representing an actual luminance level.
- Conversion Between Scales:
- To establish a mathematical relationship, you need to convert between the logarithmic exposure scale and the linear threshold scale.
- One common method is to use a power function. For instance, you can use a power function to convert EV to a linear intensity value.
threshold_value = base_value * (2 ** EV)
Here,
EV
is the exposure value,base_value
is a scaling factor that determines the relationship between EV and threshold_value, and2 ** EV
is used to convert the logarithmic EV to a linear intensity value. - Choosing the Base Value:
- The
base_value
factor should be determined based on the dynamic range of your EXR image and the specific luminance values you are dealing with. - You may need to experiment with different values of
base_value
to achieve the desired separation of bright areas from the rest of the image.
- The
Let’s say you have an EXR image with a dynamic range of 12 EV, which is a common range for many high dynamic range images. In this case, you want to set a threshold value that corresponds to a certain number of EV above the middle gray level (which is often considered to be around 0.18).
Here’s an example of how you might determine a
base_value
to achieve this:# Define the dynamic range of the image in EV dynamic_range = 12 # Choose the desired number of EV above middle gray for thresholding desired_ev_above_middle_gray = 2 # Calculate the threshold value based on the desired EV above middle gray threshold_value = 0.18 * (2 ** (desired_ev_above_middle_gray / dynamic_range)) print("Threshold Value:", threshold_value)
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IES Light Profiles and editing software
Read 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.
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Tracing Spherical harmonics and how Weta used them in production
A way to approximate complex lighting in ultra realistic renders.
All SH lighting techniques involve replacing parts of standard lighting equations with spherical functions that have been projected into frequency space using the spherical harmonics as a basis.
http://www.cs.columbia.edu/~cs4162/slides/spherical-harmonic-lighting.pdf
Spherical harmonics as used at Weta Digital
https://www.fxguide.com/fxfeatured/the-science-of-spherical-harmonics-at-weta-digital/
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Aputure AL-F7 – dimmable Led Video Light, CRI95+, 3200-9500K
High CRI of ≥95
256 LEDs with 45° beam angle
3200 to 9500K variable color temperature
1 to 100% Stepless Dimming, 1500 Lux Brightness at 3.3′
LCD Info Screen. Powered by an L-series battery, D-Tap, or USB-C
Because the light has a variable color range of 3200 to 9500K, when the light is set to 5500K (daylight balanced) both sets of LEDs are on at full, providing the maximum brightness from this fixture when compared to using the light at 3200 or 9500K.
The LCD screen provides information on the fixture’s output as well as the charge state of the battery. The screen also indicates whether the adjustment knob is controlling brightness or color temperature. To switch from brightness to CCT or CCT to brightness, just apply a short press to the adjustment knob.
The included cold shoe ball joint adapter enables mounting the light to your camera’s accessory shoe via the 1/4″-20 threaded hole on the fixture. In addition, the bottom of the cold shoe foot features a 3/8″-16 threaded hole, and includes a 3/8″-16 to 1/4″-20 reducing bushing.
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