COMPOSITION
DESIGN
COLOR
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Pattern generatorsRead more: Pattern generatorshttp://qrohlf.com/trianglify-generator/ https://halftonepro.com/app/polygons# https://mattdesl.svbtle.com/generative-art-with-nodejs-and-canvas https://www.patterncooler.com/ http://permadi.com/java/spaint/spaint.html https://dribbble.com/shots/1847313-Kaleidoscope-Generator-PSD http://eskimoblood.github.io/gerstnerizer/ http://www.stripegenerator.com/ http://btmills.github.io/geopattern/geopattern.html http://fractalarchitect.net/FA4-Random-Generator.html https://sciencevsmagic.net/fractal/#0605,0000,3,2,0,1,2 https://sites.google.com/site/mandelbulber/home 
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OLED vs QLED – What TV is better?Read more: OLED vs QLED – What TV is better?Supported by LG, Philips, Panasonic and Sony sell the OLED system TVs. 
 OLED stands for “organic light emitting diode.”
 It is a fundamentally different technology from LCD, the major type of TV today.
 OLED is “emissive,” meaning the pixels emit their own light.Samsung is branding its best TVs with a new acronym: “QLED” 
 QLED (according to Samsung) stands for “quantum dot LED TV.”
 It is a variation of the common LED LCD, adding a quantum dot film to the LCD “sandwich.”
 QLED, like LCD, is, in its current form, “transmissive” and relies on an LED backlight.OLED is the only technology capable of absolute blacks and extremely bright whites on a per-pixel basis. LCD definitely can’t do that, and even the vaunted, beloved, dearly departed plasma couldn’t do absolute blacks. QLED, as an improvement over OLED, significantly improves the picture quality. QLED can produce an even wider range of colors than OLED, which says something about this new tech. QLED is also known to produce up to 40% higher luminance efficiency than OLED technology. Further, many tests conclude that QLED is far more efficient in terms of power consumption than its predecessor, OLED. 
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VES Cinematic Color – Motion-Picture Color ManagementRead more: VES Cinematic Color – Motion-Picture Color ManagementThis paper presents an introduction to the color pipelines behind modern feature-film visual-effects and animation. Authored by Jeremy Selan, and reviewed by the members of the VES Technology Committee including Rob Bredow, Dan Candela, Nick Cannon, Paul Debevec, Ray Feeney, Andy Hendrickson, Gautham Krishnamurti, Sam Richards, Jordan Soles, and Sebastian Sylwan. 
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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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3D Lighting Tutorial by Amaan KramRead more: 3D Lighting Tutorial by Amaan Kramhttp://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
 · SizeThe overall thrust of this writing is to produce photo-realistic images by applying good lighting techniques. 
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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  
LIGHTING
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Custom bokeh in a raytraced DOF renderRead more: Custom bokeh in a raytraced DOF renderTo achieve a custom pinhole camera effect with a custom bokeh in Arnold Raytracer, you can follow these steps: - Set the render camera with a focal length around 50 (or as needed)
- Set the F-Stop to a high value (e.g., 22).
- Set the focus distance as you require
- Turn on DOF
- Place a plane a few cm in front of the camera.
- Texture the plane with a transparent shape at the center of it. (Transmission with no specular roughness)
 
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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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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.
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 What type of 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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Unity 3D resourcesRead more: Unity 3D resources http://answers.unity3d.com/questions/12321/how-can-i-start-learning-unity-fast-list-of-tutori.html If you have no previous experience with Unity, start with these six video tutorials which give a quick overview of the Unity interface and some important features http://unity3d.com/support/documentation/video/ 
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Terminators and Iron Men: HDRI, Image-based lighting and physical shading at ILM – Siggraph 2010Read more: Terminators and Iron Men: HDRI, Image-based lighting and physical shading at ILM – Siggraph 2010
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Convert between light exposure and intensityRead more: Convert between light exposure and intensityimport math,sys def Exposure2Intensity(exposure): exp = float(exposure) result = math.pow(2,exp) print(result) Exposure2Intensity(0) def Intensity2Exposure(intensity): inarg = float(intensity) if inarg == 0: print("Exposure of zero intensity is undefined.") return if inarg < 1e-323: inarg = max(inarg, 1e-323) print("Exposure of negative intensities is undefined. Clamping to a very small value instead (1e-323)") result = math.log(inarg, 2) print(result) Intensity2Exposure(0.1)Why Exposure?Exposure is a stop value that multiplies the intensity by 2 to the power of the stop. Increasing exposure by 1 results in double the amount of light. 
 Artists think in “stops.” Doubling or halving brightness is easy math and common in grading and look-dev.
 Exposure counts doublings in whole stops:- +1 stop = ×2 brightness
- −1 stop = ×0.5 brightness
 This gives perceptually even controls across both bright and dark values. 
 Why Intensity?Intensity is linear. 
 It’s what render engines and compositors expect when:- Summing values
- Averaging pixels
- Multiplying or filtering pixel data
 Use intensity when you need the actual math on pixel/light data. 
 Formulas (from your Python)- Intensity from exposure: intensity = 2**exposure
- Exposure from intensity: exposure = log₂(intensity)
 Guardrails: - Intensity must be > 0 to compute exposure.
- If intensity = 0 → exposure is undefined.
- Clamp tiny values (e.g. 1e−323) before using log₂.
 
 Use Exposure (stops) when…- You want artist-friendly sliders (−5…+5 stops)
- Adjusting look-dev or grading in even stops
- Matching plates with quick ±1 stop tweaks
- Tweening brightness changes smoothly across ranges
 
 Use Intensity (linear) when…- Storing raw pixel/light values
- Multiplying textures or lights by a gain
- Performing sums, averages, and filters
- Feeding values to render engines expecting linear data
 
 Examples- +2 stops → 2**2 = 4.0 (×4)
- +1 stop → 2**1 = 2.0 (×2)
- 0 stop → 2**0 = 1.0 (×1)
- −1 stop → 2**(−1) = 0.5 (×0.5)
- −2 stops → 2**(−2) = 0.25 (×0.25)
- Intensity 0.1 → exposure = log₂(0.1) ≈ −3.32
 
 Rule of thumbThink in stops (exposure) for controls and matching. 
 Compute in linear (intensity) for rendering and math.
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