COMPOSITION
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Cinematographers Blueprint 300dpi posterRead more: Cinematographers Blueprint 300dpi posterThe 300dpi digital poster is now available to all PixelSham.com subscribers. If you have already subscribed and wish a copy, please send me a note through the contact page. 
DESIGN
COLOR
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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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THOMAS MANSENCAL – The Apparent Simplicity of RGB RenderingRead more: THOMAS MANSENCAL – The Apparent Simplicity of RGB Renderinghttps://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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SecretWeapons MixBox – a practical library for paint-like digital color mixingRead 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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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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Stefan Ringelschwandtner – LUT Inspector toolRead more: Stefan Ringelschwandtner – LUT Inspector toolIt lets you load any .cube LUT right in your browser, see the RGB curves, and use a split view on the Granger Test Image to compare the original vs. LUT-applied version in real time — perfect for spotting hue shifts, saturation changes, and contrast tweaks. https://mononodes.com/lut-inspector/  
LIGHTING
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Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?Read more: Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?www.colour-science.org/posts/the-colorchecker-considered-mostly-harmless/ “Unless you have all the relevant spectral measurements, a colour rendition chart should not be used to perform colour-correction of camera imagery but only for white balancing and relative exposure adjustments.” “Using a colour rendition chart for colour-correction might dramatically increase error if the scene light source spectrum is different from the illuminant used to compute the colour rendition chart’s reference values.” “other factors make using a colour rendition chart unsuitable for camera calibration: – Uncontrolled geometry of the colour rendition chart with the incident illumination and the camera. 
 – Unknown sample reflectances and ageing as the colour of the samples vary with time.
 – Low samples count.
 – Camera noise and flare.
 – Etc…“Those issues are well understood in the VFX industry, and when receiving plates, we almost exclusively use colour rendition charts to white balance and perform relative exposure adjustments, i.e. plate neutralisation.” 
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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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