COMPOSITION
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9 Best Hacks to Make a Cinematic Video with Any CameraRead 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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Composition – 5 tips for creating perfect cinematic lighting and making your work look stunningRead more: Composition – 5 tips for creating perfect cinematic lighting and making your work look stunninghttp://www.diyphotography.net/5-tips-creating-perfect-cinematic-lighting-making-work-look-stunning/ 1. Learn the rules of lighting 2. Learn when to break the rules 3. Make your key light larger 4. Reverse keying 5. Always be backlighting 
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Composition and The Expressive Nature Of LightRead 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.” 
DESIGN
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Public Work – A search engine for free public domain contentRead more: Public Work – A search engine for free public domain contentExplore 100,000+ copyright-free images from The MET, New York Public Library, and other sources. 
COLOR
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The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t SeeRead more: The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t Seewww.livescience.com/17948-red-green-blue-yellow-stunning-colors.html  While the human eye has red, green, and blue-sensing cones, those cones are cross-wired in the retina to produce a luminance channel plus a red-green and a blue-yellow channel, and it’s data in that color space (known technically as “LAB”) that goes to the brain. That’s why we can’t perceive a reddish-green or a yellowish-blue, whereas such colors can be represented in the RGB color space used by digital cameras. https://en.rockcontent.com/blog/the-use-of-yellow-in-data-design The back of the retina is covered in light-sensitive neurons known as cone cells and rod cells. There are three types of cone cells, each sensitive to different ranges of light. These ranges overlap, but for convenience the cones are referred to as blue (short-wavelength), green (medium-wavelength), and red (long-wavelength). The rod cells are primarily used in low-light situations, so we’ll ignore those for now. When light enters the eye and hits the cone cells, the cones get excited and send signals to the brain through the visual cortex. Different wavelengths of light excite different combinations of cones to varying levels, which generates our perception of color. You can see that the red cones are most sensitive to light, and the blue cones are least sensitive. The sensitivity of green and red cones overlaps for most of the visible spectrum.  Here’s how your brain takes the signals of light intensity from the cones and turns it into color information. To see red or green, your brain finds the difference between the levels of excitement in your red and green cones. This is the red-green channel. To get “brightness,” your brain combines the excitement of your red and green cones. This creates the luminance, or black-white, channel. To see yellow or blue, your brain then finds the difference between this luminance signal and the excitement of your blue cones. This is the yellow-blue channel. From the calculations made in the brain along those three channels, we get four basic colors: blue, green, yellow, and red. Seeing blue is what you experience when low-wavelength light excites the blue cones more than the green and red. Seeing green happens when light excites the green cones more than the red cones. Seeing red happens when only the red cones are excited by high-wavelength light. Here’s where it gets interesting. Seeing yellow is what happens when BOTH the green AND red cones are highly excited near their peak sensitivity. This is the biggest collective excitement that your cones ever have, aside from seeing pure white. Notice that yellow occurs at peak intensity in the graph to the right. Further, the lens and cornea of the eye happen to block shorter wavelengths, reducing sensitivity to blue and violet light. 
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Practical Aspects of Spectral Data and LEDs in Digital Content Production and Virtual Production – SIGGRAPH 2022Read more: Practical Aspects of Spectral Data and LEDs in Digital Content Production and Virtual Production – SIGGRAPH 2022Comparison to the commercial side  https://www.ecolorled.com/blog/detail/what-is-rgb-rgbw-rgbic-strip-lights RGBW (RGB + White) LED strip uses a 4-in-1 LED chip made up of red, green, blue, and white. RGBWW (RGB + White + Warm White) LED strip uses either a 5-in-1 LED chip with red, green, blue, white, and warm white for color mixing. The only difference between RGBW and RGBWW is the intensity of the white color. The term RGBCCT consists of RGB and CCT. CCT (Correlated Color Temperature) means that the color temperature of the led strip light can be adjusted to change between warm white and white. Thus, RGBWW strip light is another name of RGBCCT strip. RGBCW is the acronym for Red, Green, Blue, Cold, and Warm. These 5-in-1 chips are used in supper bright smart LED lighting products 
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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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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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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 
LIGHTING
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GretagMacbeth Color Checker Numeric Values and Middle GrayRead more: GretagMacbeth Color Checker Numeric Values and Middle GrayThe human eye perceives half scene brightness not as the linear 50% of the present energy (linear nature values) but as 18% of the overall brightness. We are biased to perceive more information in the dark and contrast areas. A Macbeth chart helps with calibrating back into a photographic capture into this “human perspective” of the world. https://en.wikipedia.org/wiki/Middle_gray In photography, painting, and other visual arts, middle gray or middle grey is a tone that is perceptually about halfway between black and white on a lightness scale in photography and printing, it is typically defined as 18% reflectance in visible light  Light meters, cameras, and pictures are often calibrated using an 18% gray card[4][5][6] or a color reference card such as a ColorChecker. On the assumption that 18% is similar to the average reflectance of a scene, a grey card can be used to estimate the required exposure of the film. https://en.wikipedia.org/wiki/ColorChecker (more…)
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Gamma correctionRead more: Gamma correction http://www.normankoren.com/makingfineprints1A.html#Gammabox https://en.wikipedia.org/wiki/Gamma_correction http://www.photoscientia.co.uk/Gamma.htm https://www.w3.org/Graphics/Color/sRGB.html http://www.eizoglobal.com/library/basics/lcd_display_gamma/index.html https://forum.reallusion.com/PrintTopic308094.aspx Basically, gamma is the relationship between the brightness of a pixel as it appears on the screen, and the numerical value of that pixel. Generally Gamma is just about defining relationships. Three main types: 
 – Image Gamma encoded in images
 – Display Gammas encoded in hardware and/or viewing time
 – System or Viewing Gamma which is the net effect of all gammas when you look back at a final image. In theory this should flatten back to 1.0 gamma.
 (more…)
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NVidia DiffusionRenderer – Neural Inverse and Forward Rendering with Video Diffusion Models. How NVIDIA reimagined relightingRead more: NVidia DiffusionRenderer – Neural Inverse and Forward Rendering with Video Diffusion Models. How NVIDIA reimagined relightinghttps://www.fxguide.com/quicktakes/diffusing-reality-how-nvidia-reimagined-relighting/ https://research.nvidia.com/labs/toronto-ai/DiffusionRenderer/ 
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