COMPOSITION
DESIGN
COLOR
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Thomas Mansencal – Colour Science for Python
Read more: Thomas Mansencal – Colour Science for Pythonhttps://thomasmansencal.substack.com/p/colour-science-for-python
https://www.colour-science.org/
Colour is an open-source Python package providing a comprehensive number of algorithms and datasets for colour science. It is freely available under the BSD-3-Clause terms.
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FXGuide – ACES 2.0 with ILM’s Alex Fry
https://draftdocs.acescentral.com/background/whats-new/
ACES 2.0 is the second major release of the components that make up the ACES system. The most significant change is a new suite of rendering transforms whose design was informed by collected feedback and requests from users of ACES 1. The changes aim to improve the appearance of perceived artifacts and to complete previously unfinished components of the system, resulting in a more complete, robust, and consistent product.
Highlights of the key changes in ACES 2.0 are as follows:
- New output transforms, including:
- A less aggressive tone scale
- More intuitive controls to create custom outputs to non-standard displays
- Robust gamut mapping to improve perceptual uniformity
- Improved performance of the inverse transforms
- Enhanced AMF specification
- An updated specification for ACES Transform IDs
- OpenEXR compression recommendations
- Enhanced tools for generating Input Transforms and recommended procedures for characterizing prosumer cameras
- Look Transform Library
- Expanded documentation
Rendering Transform
The most substantial change in ACES 2.0 is a complete redesign of the rendering transform.
ACES 2.0 was built as a unified system, rather than through piecemeal additions. Different deliverable outputs “match” better and making outputs to display setups other than the provided presets is intended to be user-driven. The rendering transforms are less likely to produce undesirable artifacts “out of the box”, which means less time can be spent fixing problematic images and more time making pictures look the way you want.
Key design goals
- Improve consistency of tone scale and provide an easy to use parameter to allow for outputs between preset dynamic ranges
- Minimize hue skews across exposure range in a region of same hue
- Unify for structural consistency across transform type
- Easy to use parameters to create outputs other than the presets
- Robust gamut mapping to improve harsh clipping artifacts
- Fill extents of output code value cube (where appropriate and expected)
- Invertible – not necessarily reversible, but Output > ACES > Output round-trip should be possible
- Accomplish all of the above while maintaining an acceptable “out-of-the box” rendering
- New output transforms, including:
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The Maya civilization and the color blue
Maya blue is a highly unusual pigment because it is a mix of organic indigo and an inorganic clay mineral called palygorskite.
Echoing the color of an azure sky, the indelible pigment was used to accentuate everything from ceramics to human sacrifices in the Late Preclassic period (300 B.C. to A.D. 300).
A team of researchers led by Dean Arnold, an adjunct curator of anthropology at the Field Museum in Chicago, determined that the key to Maya blue was actually a sacred incense called copal.
By heating the mixture of indigo, copal and palygorskite over a fire, the Maya produced the unique pigment, he reported at the time.
LIGHTING
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Key/Fill ratios and scene composition using false colors
To measure the contrast ratio you will need a light meter. The process starts with you measuring the main source of light, or the key light.
Get a reading from the brightest area on the face of your subject. Then, measure the area lit by the secondary light, or fill light. To make sense of what you have just measured you have to understand that the information you have just gathered is in F-stops, a measure of light. With each additional F-stop, for example going one stop from f/1.4 to f/2.0, you create a doubling of light. The reverse is also true; moving one stop from f/8.0 to f/5.6 results in a halving of the light.
Let’s say you grabbed a measurement from your key light of f/8.0. Then, when you measured your fill light area, you get a reading of f/4.0. This will lead you to a contrast ratio of 4:1 because there are two stops between f/4.0 and f/8.0 and each stop doubles the amount of light. In other words, two stops x twice the light per stop = four times as much light at f/8.0 than at f/4.0.
theslantedlens.com/2017/lighting-ratios-photo-video/
Examples in the post
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IES Light Profiles and editing software
Read more: IES Light Profiles and editing softwarehttp://www.derekjenson.com/3d-blog/ies-light-profiles
https://ieslibrary.com/en/browse#ies
https://leomoon.com/store/shaders/ies-lights-pack
https://docs.arnoldrenderer.com/display/a5afmug/ai+photometric+light
IES profiles are useful for creating life-like lighting, as they can represent the physical distribution of light from any light source.
The IES format was created by the Illumination Engineering Society, and most lighting manufacturers provide IES profile for the lights they manufacture.
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Outpost VFX lighting tips
Read more: Outpost VFX lighting tipswww.outpost-vfx.com/en/news/18-pro-tips-and-tricks-for-lighting
Get as much information regarding your plate lighting as possible
- Always use a reference
- Replicate what is happening in real life
- Invest into a solid HDRI
- Start Simple
- Observe real world lighting, photography and cinematography
- Don’t neglect the theory
- Learn the difference between realism and photo-realism.
- Keep your scenes organised
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