COMPOSITION
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HuggingFace ai-comic-factory – a FREE AI Comic Book CreatorRead more: HuggingFace ai-comic-factory – a FREE AI Comic Book Creatorhttps://huggingface.co/spaces/jbilcke-hf/ai-comic-factory this is the epic story of a group of talented digital artists trying to overcame daily technical challenges to achieve incredibly photorealistic projects of monsters and aliens 
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Mastering Camera Shots and Angles: A Guide for FilmmakersRead more: Mastering Camera Shots and Angles: A Guide for Filmmakershttps://website.ltx.studio/blog/mastering-camera-shots-and-angles 1. Extreme Wide Shot  2. Wide Shot  3. Medium Shot  4. Close Up  5. Extreme Close Up  
DESIGN
COLOR
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Tobia Montanari – Memory Colors: an essential tool for ColoristsRead more: Tobia Montanari – Memory Colors: an essential tool for Coloristshttps://www.tobiamontanari.com/memory-colors-an-essential-tool-for-colorists/ “Memory colors are colors that are universally associated with specific objects, elements or scenes in our environment. They are the colors that we expect to see in specific situations: these colors are based on our expectation of how certain objects should look based on our past experiences and memories. For instance, we associate specific hues, saturation and brightness values with human skintones and a slight variation can significantly affect the way we perceive a scene. Similarly, we expect blue skies to have a particular hue, green trees to be a specific shade and so on. Memory colors live inside of our brains and we often impose them onto what we see. By considering them during the grading process, the resulting image will be more visually appealing and won’t distract the viewer from the intended message of the story. Even a slight deviation from memory colors in a movie can create a sense of discordance, ultimately detracting from the viewer’s experience.” 
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What light is best to illuminate gems for resaleRead more: What light is best to illuminate gems for resalewww.palagems.com/gem-lighting2 Artificial light sources, not unlike the diverse phases of natural light, vary considerably in their properties. As a result, some lamps render an object’s color better than others do. The most important criterion for assessing the color-rendering ability of any lamp is its spectral power distribution curve. Natural daylight varies too much in strength and spectral composition to be taken seriously as a lighting standard for grading and dealing colored stones. For anything to be a standard, it must be constant in its properties, which natural light is not. For dealers in particular to make the transition from natural light to an artificial light source, that source must offer: 
 1- A degree of illuminance at least as strong as the common phases of natural daylight.
 2- Spectral properties identical or comparable to a phase of natural daylight.A source combining these two things makes gems appear much the same as when viewed under a given phase of natural light. From the viewpoint of many dealers, this corresponds to a naturalappearance. The 6000° Kelvin xenon short-arc lamp appears closest to meeting the criteria for a standard light source. Besides the strong illuminance this lamp affords, its spectrum is very similar to CIE standard illuminants of similar color temperature.   
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What Is The Resolution and view coverage Of The human Eye. And what distance is TV at best?Read more: What Is The Resolution and view coverage Of The human Eye. And what distance is TV at best?https://www.discovery.com/science/mexapixels-in-human-eye About 576 megapixels for the entire field of view. Consider a view in front of you that is 90 degrees by 90 degrees, like looking through an open window at a scene. The number of pixels would be: 
 90 degrees * 60 arc-minutes/degree * 1/0.3 * 90 * 60 * 1/0.3 = 324,000,000 pixels (324 megapixels).At any one moment, you actually do not perceive that many pixels, but your eye moves around the scene to see all the detail you want. But the human eye really sees a larger field of view, close to 180 degrees. Let’s be conservative and use 120 degrees for the field of view. Then we would see: 120 * 120 * 60 * 60 / (0.3 * 0.3) = 576 megapixels. Or. 7 megapixels for the 2 degree focus arc… + 1 megapixel for the rest. https://clarkvision.com/articles/eye-resolution.html Details in the post 
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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
LIGHTING
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Composition – These are the basic lighting techniques you need to know for photography and filmRead more: Composition – These are the basic lighting techniques you need to know for photography and filmhttp://www.diyphotography.net/basic-lighting-techniques-need-know-photography-film/ Amongst the basic techniques, there’s… 1- Side lighting – Literally how it sounds, lighting a subject from the side when they’re faced toward you 2- Rembrandt lighting – Here the light is at around 45 degrees over from the front of the subject, raised and pointing down at 45 degrees 3- Back lighting – Again, how it sounds, lighting a subject from behind. This can help to add drama with silouettes 4- Rim lighting – This produces a light glowing outline around your subject 5- Key light – The main light source, and it’s not necessarily always the brightest light source 6- Fill light – This is used to fill in the shadows and provide detail that would otherwise be blackness 7- Cross lighting – Using two lights placed opposite from each other to light two subjects 
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What’s the Difference Between Ray Casting, Ray Tracing, Path Tracing and Rasterization? Physical light tracing…Read more: What’s the Difference Between Ray Casting, Ray Tracing, Path Tracing and Rasterization? Physical light tracing…RASTERIZATION 
 Rasterisation (or rasterization) is the task of taking the information described in a vector graphics format OR the vertices of triangles making 3D shapes and converting them into a raster image (a series of pixels, dots or lines, which, when displayed together, create the image which was represented via shapes), or in other words “rasterizing” vectors or 3D models onto a 2D plane for display on a computer screen.For each triangle of a 3D shape, you project the corners of the triangle on the virtual screen with some math (projective geometry). Then you have the position of the 3 corners of the triangle on the pixel screen. Those 3 points have texture coordinates, so you know where in the texture are the 3 corners. The cost is proportional to the number of triangles, and is only a little bit affected by the screen resolution. In computer graphics, a raster graphics or bitmap image is a dot matrix data structure that represents a generally rectangular grid of pixels (points of color), viewable via a monitor, paper, or other display medium. With rasterization, objects on the screen are created from a mesh of virtual triangles, or polygons, that create 3D models of objects. A lot of information is associated with each vertex, including its position in space, as well as information about color, texture and its “normal,” which is used to determine the way the surface of an object is facing. Computers then convert the triangles of the 3D models into pixels, or dots, on a 2D screen. Each pixel can be assigned an initial color value from the data stored in the triangle vertices. Further pixel processing or “shading,” including changing pixel color based on how lights in the scene hit the pixel, and applying one or more textures to the pixel, combine to generate the final color applied to a pixel. The main advantage of rasterization is its speed. However, rasterization is simply the process of computing the mapping from scene geometry to pixels and does not prescribe a particular way to compute the color of those pixels. So it cannot take shading, especially the physical light, into account and it cannot promise to get a photorealistic output. That’s a big limitation of rasterization. There are also multiple problems: - If you have two triangles one is behind the other, you will draw twice all the pixels. you only keep the pixel from the triangle that is closer to you (Z-buffer), but you still do the work twice. 
- The borders of your triangles are jagged as it is hard to know if a pixel is in the triangle or out. You can do some smoothing on those, that is anti-aliasing. 
- You have to handle every triangles (including the ones behind you) and then see that they do not touch the screen at all. (we have techniques to mitigate this where we only look at triangles that are in the field of view) 
- Transparency is hard to handle (you can’t just do an average of the color of overlapping transparent triangles, you have to do it in the right order) 
 
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Romain Chauliac – LightIt a lighting script for Maya and ArnoldRead more: Romain Chauliac – LightIt a lighting script for Maya and ArnoldLightIt is a script for Maya and Arnold that will help you and improve your lighting workflow. 
 Thanks to preset studio lighting components (lights, backdrop…), high quality studio scenes and HDRI library manager.https://www.artstation.com/artwork/393emJ 
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