COMPOSITION
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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 
DESIGN
COLOR
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The Color of Infinite TemperatureRead more: The Color of Infinite TemperatureThis is the color of something infinitely hot.  Of course you’d instantly be fried by gamma rays of arbitrarily high frequency, but this would be its spectrum in the visible range. johncarlosbaez.wordpress.com/2022/01/16/the-color-of-infinite-temperature/ This is also the color of a typical neutron star. They’re so hot they look the same. 
 It’s also the color of the early Universe!This was worked out by David Madore.  The color he got is sRGB(148,177,255). 
 www.htmlcsscolor.com/hex/94B1FFAnd according to the experts who sip latte all day and make up names for colors, this color is called ‘Perano’. 
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Photography basics: Why Use a (MacBeth) Color Chart?Read more: Photography basics: Why Use a (MacBeth) Color Chart?Start here: https://www.pixelsham.com/2013/05/09/gretagmacbeth-color-checker-numeric-values/ https://www.studiobinder.com/blog/what-is-a-color-checker-tool/ In LightRoom in Final Cut in Nuke Note: In Foundry’s Nuke, the software will map 18% gray to whatever your center f/stop is set to in the viewer settings (f/8 by default… change that to EV by following the instructions below). 
 You can experiment with this by attaching an Exposure node to a Constant set to 0.18, setting your viewer read-out to Spotmeter, and adjusting the stops in the node up and down. You will see that a full stop up or down will give you the respective next value on the aperture scale (f8, f11, f16 etc.).One stop doubles or halves the amount or light that hits the filmback/ccd, so everything works in powers of 2. 
 So starting with 0.18 in your constant, you will see that raising it by a stop will give you .36 as a floating point number (in linear space), while your f/stop will be f/11 and so on.If you set your center stop to 0 (see below) you will get a relative readout in EVs, where EV 0 again equals 18% constant gray. In other words. Setting the center f-stop to 0 means that in a neutral plate, the middle gray in the macbeth chart will equal to exposure value 0. EV 0 corresponds to an exposure time of 1 sec and an aperture of f/1.0. This will set the sun usually around EV12-17 and the sky EV1-4 , depending on cloud coverage. To switch Foundry’s Nuke’s SpotMeter to return the EV of an image, click on the main viewport, and then press s, this opens the viewer’s properties. Now set the center f-stop to 0 in there. And the SpotMeter in the viewport will change from aperture and fstops to EV. 
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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  
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PBR Color Reference List for Materials – by Grzegorz BaranRead more: PBR Color Reference List for Materials – by Grzegorz Baran“The list should be helpful for every material artist who work on PBR materials as it contains over 200 color values measured with PCE-RGB2 1002 Color Spectrometer device and presented in linear and sRGB (2.2) gamma space. All color values, HUE and Saturation in this list come from measurements taken with PCE-RGB2 1002 Color Spectrometer device and are presented in linear and sRGB (2.2) gamma space (more info at the end of this video) I calculated Relative Luminance and Luminance values based on captured color using my own equation which takes color based luminance perception into consideration. Bare in mind that there is no ‘one’ color per substance as nothing in nature is even 100% uniform and any value in +/-10% range from these should be considered as correct one. Therefore this list should be always considered as a color reference for material’s albedos, not ulitimate and absolute truth.“ 
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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. 
LIGHTING
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Light propertiesRead more: Light propertiesHow It Works – Issue 114 
 https://www.howitworksdaily.com/
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Bella – Fast Spectral RenderingRead more: Bella – Fast Spectral RenderingBella works in spectral space, allowing effects such as BSDF wavelength dependency, diffraction, or atmosphere to be modeled far more accurately than in color space. https://superrendersfarm.com/blog/uncategorized/bella-a-new-spectral-physically-based-renderer/ 
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Open Source Nvidia OmniverseRead more: Open Source Nvidia Omniverseblogs.nvidia.com/blog/2019/03/18/omniverse-collaboration-platform/ developer.nvidia.com/nvidia-omniverse An open, Interactive 3D Design Collaboration Platform for Multi-Tool Workflows to simplify studio workflows for real-time graphics. It supports Pixar’s Universal Scene Description technology for exchanging information about modeling, shading, animation, lighting, visual effects and rendering across multiple applications. It also supports NVIDIA’s Material Definition Language, which allows artists to exchange information about surface materials across multiple tools. With Omniverse, artists can see live updates made by other artists working in different applications. They can also see changes reflected in multiple tools at the same time. For example an artist using Maya with a portal to Omniverse can collaborate with another artist using UE4 and both will see live updates of each others’ changes in their application. 
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Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs IlluminanceRead more: Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminancehttps://www.translatorscafe.com/unit-converter/en-US/illumination/1-11/ The power output of a light source is measured using the unit of watts W. This is a direct measure to calculate how much power the light is going to drain from your socket and it is not relatable to the light brightness itself. The amount of energy emitted from it per second. That energy comes out in a form of photons which we can crudely represent with rays of light coming out of the source. The higher the power the more rays emitted from the source in a unit of time. Not all energy emitted is visible to the human eye, so we often rely on photometric measurements, which takes in account the sensitivity of human eye to different wavelenghts Details in the post 
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