COMPOSITION
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SlowMoVideo – How to make a slow motion shot with the open source program
http://slowmovideo.granjow.net/
slowmoVideo is an OpenSource program that creates slow-motion videos from your footage.
Slow motion cinematography is the result of playing back frames for a longer duration than they were exposed. For example, if you expose 240 frames of film in one second, then play them back at 24 fps, the resulting movie is 10 times longer (slower) than the original filmed event….
Film cameras are relatively simple mechanical devices that allow you to crank up the speed to whatever rate the shutter and pull-down mechanism allow. Some film cameras can operate at 2,500 fps or higher (although film shot in these cameras often needs some readjustment in postproduction). Video, on the other hand, is always captured, recorded, and played back at a fixed rate, with a current limit around 60fps. This makes extreme slow motion effects harder to achieve (and less elegant) on video, because slowing down the video results in each frame held still on the screen for a long time, whereas with high-frame-rate film there are plenty of frames to fill the longer durations of time. On video, the slow motion effect is more like a slide show than smooth, continuous motion.
One obvious solution is to shoot film at high speed, then transfer it to video (a case where film still has a clear advantage, sorry George). Another possibility is to cross dissolve or blur from one frame to the next. This adds a smooth transition from one still frame to the next. The blur reduces the sharpness of the image, and compared to slowing down images shot at a high frame rate, this is somewhat of a cheat. However, there isn’t much you can do about it until video can be recorded at much higher rates. Of course, many film cameras can’t shoot at high frame rates either, so the whole super-slow-motion endeavor is somewhat specialized no matter what medium you are using. (There are some high speed digital cameras available now that allow you to capture lots of digital frames directly to your computer, so technology is starting to catch up with film. However, this feature isn’t going to appear in consumer camcorders any time soon.)
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9 Best Hacks to Make a Cinematic Video with Any Camera
Read more: 9 Best Hacks to Make a Cinematic Video with Any Camerahttps://www.flexclip.com/learn/cinematic-video.html
- Frame Your Shots to Create Depth
- Create Shallow Depth of Field
- Avoid Shaky Footage and Use Flexible Camera Movements
- Properly Use Slow Motion
- Use Cinematic Lighting Techniques
- Apply Color Grading
- Use Cinematic Music and SFX
- Add Cinematic Fonts and Text Effects
- Create the Cinematic Bar at the Top and the Bottom
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Photography basics: Depth of Field and composition
Read more: Photography basics: Depth of Field and compositionDepth of field is the range within which focusing is resolved in a photo.
Aperture has a huge affect on to the depth of field.Changing the f-stops (f/#) of a lens will change aperture and as such the DOF.
f-stops are a just certain number which is telling you the size of the aperture. That’s how f-stop is related to aperture (and DOF).
If you increase f-stops, it will increase DOF, the area in focus (and decrease the aperture). On the other hand, decreasing the f-stop it will decrease DOF (and increase the aperture).
The red cone in the figure is an angular representation of the resolution of the system. Versus the dotted lines, which indicate the aperture coverage. Where the lines of the two cones intersect defines the total range of the depth of field.
This image explains why the longer the depth of field, the greater the range of clarity.
DESIGN
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Pantheon of the War – The colossal war painting
Read more: Pantheon of the War – The colossal war paintingFour years in the making with the help of 150 artists, in commemoration of WW1.
edition.cnn.com/style/article/pantheon-de-la-guerre-wwi-painting/index.html
A panoramic canvas measuring 402 feet (122 meters) around and 45 feet (13.7 meters) high. It contained over 5,000 life-size portraits of war heroes, royalty and government officials from the Allies of World War I.
Partial section upload:
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This legendary DC Comics style guide was nearly lost for years – now you can buy it
Read more: This legendary DC Comics style guide was nearly lost for years – now you can buy ithttps://www.fastcompany.com/91133306/dc-comics-style-guide-was-lost-for-years-now-you-can-buy-it
Reproduced from a rare original copy, the book features over 165 highly-detailed scans of the legendary art by José Luis García-López, with an introduction by Paul Levitz, former president of DC Comics.
https://standardsmanual.com/products/1982-dc-comics-style-guide
COLOR
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Akiyoshi Kitaoka – Surround biased illumination perception
Read more: Akiyoshi Kitaoka – Surround biased illumination perceptionhttps://x.com/AkiyoshiKitaoka/status/1798705648001327209
The left face appears whitish and the right one blackish, but they are made up of the same luminance.
https://community.wolfram.com/groups/-/m/t/3191015
Illusory staircase Gelb effect
https://www.psy.ritsumei.ac.jp/akitaoka/illgelbe.html -
Victor Perez – ACES Color Management in DaVinci Resolve
Read more: Victor Perez – ACES Color Management in DaVinci Resolvehttpv://www.youtube.com/watch?v=i–TS88-6xA
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THOMAS MANSENCAL – The Apparent Simplicity of RGB Rendering
https://thomasmansencal.substack.com/p/the-apparent-simplicity-of-rgb-rendering
The primary goal of physically-based rendering (PBR) is to create a simulation that accurately reproduces the imaging process of electro-magnetic spectrum radiation incident to an observer. This simulation should be indistinguishable from reality for a similar observer.
Because a camera is not sensitive to incident light the same way than a human observer, the images it captures are transformed to be colorimetric. A project might require infrared imaging simulation, a portion of the electro-magnetic spectrum that is invisible to us. Radically different observers might image the same scene but the act of observing does not change the intrinsic properties of the objects being imaged. Consequently, the physical modelling of the virtual scene should be independent of the observer.
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Mysterious animation wins best illusion of 2011 – Motion silencing illusion
Read more: Mysterious animation wins best illusion of 2011 – Motion silencing illusionThe 2011 Best Illusion of the Year uses motion to render color changes invisible, and so reveals a quirk in our visual systems that is new to scientists.
https://en.wikipedia.org/wiki/Motion_silencing_illusion
“It is a really beautiful effect, revealing something about how our visual system works that we didn’t know before,” said Daniel Simons, a professor at the University of Illinois, Champaign-Urbana. Simons studies visual cognition, and did not work on this illusion. Before its creation, scientists didn’t know that motion had this effect on perception, Simons said.
A viewer stares at a speck at the center of a ring of colored dots, which continuously change color. When the ring begins to rotate around the speck, the color changes appear to stop. But this is an illusion. For some reason, the motion causes our visual system to ignore the color changes. (You can, however, see the color changes if you follow the rotating circles with your eyes.)
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Anders Langlands – Render Color Spaces
Read more: Anders Langlands – Render Color Spaceshttps://www.colour-science.org/anders-langlands/
This page compares images rendered in Arnold using spectral rendering and different sets of colourspace primaries: Rec.709, Rec.2020, ACES and DCI-P3. The SPD data for the GretagMacbeth Color Checker are the measurements of Noburu Ohta, taken from Mansencal, Mauderer and Parsons (2014) colour-science.org.
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No one could see the colour blue until modern times
Read more: No one could see the colour blue until modern timeshttps://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/
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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Is it possible to get a dark yellow
Read more: Is it possible to get a dark yellowhttps://www.patreon.com/posts/102660674
https://www.linkedin.com/posts/stephenwestland_here-is-a-post-about-the-dark-yellow-problem-activity-7187131643764092929-7uCL
LIGHTING
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Romain Chauliac – LightIt a lighting script for Maya and Arnold
Read 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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PTGui 13 beta adds control through a Patch Editor
Additions:
- Patch Editor (PTGui Pro)
- DNG output
- Improved RAW / DNG handling
- JPEG 2000 support
- Performance improvements
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Composition and The Expressive Nature Of Light
Read more: Composition and The Expressive Nature Of Lighthttp://www.huffingtonpost.com/bill-danskin/post_12457_b_10777222.html
George Sand once said “ The artist vocation is to send light into the human heart.”
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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
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