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COMPOSITION

DESIGN

COLOR

LIGHTING

  • This ONE Step Makes CG Look Cinematic

    pIXELsHAM.com
    Views : 27
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    Read more: This ONE Step Makes CG Look Cinematic

  • OutCast: Outdoor Single-image Relighting with Cast Shadows

    pIXELsHAM.com

    Views : 583
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    Read more: OutCast: Outdoor Single-image Relighting with Cast Shadows

  • CG Lighting Pipeline Toolset Demo using GafferHQ

    pIXELsHAM.com
    Views : 28
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    Read more: CG Lighting Pipeline Toolset Demo using GafferHQ

  • portrait lighting setups

    pIXELsHAM.com

    Views : 1,198
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  • Colors and Colorimetry by David Madore

    pIXELsHAM.com

    http://www.madore.org/~david/misc/color/

     

    [gamma correction test]
    Views : 1,246
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  • HDRI shooting and editing by Xuan Prada and Greg Zaal

    pIXELsHAM.com

    www.xuanprada.com/blog/2014/11/3/hdri-shooting

     

    http://blog.gregzaal.com/2016/03/16/make-your-own-hdri/

     

    http://blog.hdrihaven.com/how-to-create-high-quality-hdri/

     

    Shooting checklist

    • Full coverage of the scene (fish-eye shots)
    • Backplates for look-development (including ground or floor)
    • Macbeth chart for white balance
    • Grey ball for lighting calibration
    • Chrome ball for lighting orientation
    • Basic scene measurements
    • Material samples
    • Individual HDR artificial lighting sources if required

    Methodology

    • Plant the tripod where the action happens, stabilise it and level it
    • Set manual focus
    • Set white balance
    • Set ISO
    • Set raw+jpg
    • Set apperture
    • Metering exposure
    • Set neutral exposure
    • Read histogram and adjust neutral exposure if necessary
    • Shot slate (operator name, location, date, time, project code name, etc)
    • Set auto bracketing
    • Shot 5 to 7 exposures with 3 stops difference covering the whole environment
    • Place the aromatic kit where the tripod was placed, and take 3 exposures. Keep half of the grey sphere hit by the sun and half in shade.
    • Place the Macbeth chart 1m away from tripod on the floor and take 3 exposures
    • Take backplates and ground/floor texture references
    • Shoot reference materials
    • Write down measurements of the scene, specially if you are shooting interiors.
    • If shooting artificial lights take HDR samples of each individual lighting source.

    Exposures starting point

    • Day light sun visible ISO 100 F22
    • Day light sun hidden ISO 100 F16
    • Cloudy ISO 320 F16
    • Sunrise/Sunset ISO 100 F11
    • Interior well lit ISO 320 F16
    • Interior ambient bright ISO 320 F10
    • Interior bad light ISO 640 F10
    • Interior ambient dark ISO 640 F8
    • Low light situation ISO 640 F5

     

    NOTE: The goal is to clean the initial individual brackets before or at merging time as much as possible.
    This means:

    • keeping original shooting metadata
    • de-fringing
    • removing aberration (through camera lens data or automatically)
    • at 32 bit
    • in ACEScg (or ACES) wherever possible

     

    Here are the tips for using the chromatic ball in VFX projects, written in English:
    https://www.linkedin.com/posts/bellrodrigo_here-are-the-tips-for-using-the-chromatic-activity-7200950595438940160-AGBp

     

    Tips for Using the Chromatic Ball in VFX Projects**

    The chromatic ball is an invaluable tool in VFX work, helping to capture lighting and reflection data crucial for integrating CGI elements seamlessly. Here are some tips to maximize its effectiveness:

     

    1. **Positioning**:
    – Place the chromatic ball in the same lighting conditions as the main subject. Ensure it is visible in the camera frame but not obstructing the main action.
    – Ideally, place the ball where the CGI elements will be integrated to match the lighting and reflections accurately.

     

    2. **Recording Reference Footage**:
    – Capture reference footage of the chromatic ball at the beginning and end of each scene or lighting setup. This ensures you have consistent lighting data for the entire shoot.

     

    3. **Consistent Angles**:
    – Use consistent camera angles and heights when recording the chromatic ball. This helps in comparing and matching lighting setups across different shots.

     

    4. **Combine with a Gray Ball**:
    – Use a gray ball alongside the chromatic ball. The gray ball provides a neutral reference for exposure and color balance, complementing the chromatic ball’s reflection data.

     

    5. **Marking Positions**:
    – Mark the position of the chromatic ball on the set to ensure consistency when shooting multiple takes or different camera angles.

     

    6. **Lighting Analysis**:
    – Analyze the chromatic ball footage to understand the light sources, intensity, direction, and color temperature. This information is crucial for creating realistic CGI lighting and shadows.

     

    7. **Reflection Analysis**:
    – Use the chromatic ball to capture the environment’s reflections. This helps in accurately reflecting the CGI elements within the same scene, making them blend seamlessly.

     

    8. **Use HDRI**:
    – Capture High Dynamic Range Imagery (HDRI) of the chromatic ball. HDRI provides detailed lighting information and can be used to light CGI scenes with greater realism.

     

    9. **Communication with VFX Team**:
    – Ensure that the VFX team is aware of the chromatic ball’s data and how it was captured. Clear communication ensures that the data is used effectively in post-production.

     

    10. **Post-Production Adjustments**:
    – In post-production, use the chromatic ball data to adjust the CGI elements’ lighting and reflections. This ensures that the final output is visually cohesive and realistic.

    Views : 1,053
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    Read more: HDRI shooting and editing by Xuan Prada and Greg Zaal

  • Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning

    pIXELsHAM.com

    http://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

    Views : 1,092
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    Read more: Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning

  • How are Energy and Matter the Same?

    pIXELsHAM.com

    www.turnerpublishing.com/blog/detail/everything-is-energy-everything-is-one-everything-is-possible/

    www.universetoday.com/116615/how-are-energy-and-matter-the-same/

    As Einstein showed us, light and matter and just aspects of the same thing. Matter is just frozen light. And light is matter on the move. Albert Einstein’s most famous equation says that energy and matter are two sides of the same coin. How does one become the other?

    Relativity requires that the faster an object moves, the more mass it appears to have. This means that somehow part of the energy of the car’s motion appears to transform into mass. Hence the origin of Einstein’s equation. How does that happen? We don’t really know. We only know that it does.

    Matter is 99.999999999999 percent empty space. Not only do the atom and solid matter consist mainly of empty space, it is the same in outer space

    The quantum theory researchers discovered the answer: Not only do particles consist of energy, but so does the space between. This is the so-called zero-point energy. Therefore it is true: Everything consists of energy.

    Energy is the basis of material reality. Every type of particle is conceived of as a quantum vibration in a field: Electrons are vibrations in electron fields, protons vibrate in a proton field, and so on. Everything is energy, and everything is connected to everything else through fields.

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    Read more: How are Energy and Matter the Same?

  • HDRI Median Cut plugin

    pIXELsHAM.com

    www.hdrlabs.com/picturenaut/plugins.html

     

     

    Note. The Median Cut algorithm is typically used for color quantization, which involves reducing the number of colors in an image while preserving its visual quality. It doesn’t directly provide a way to identify the brightest areas in an image. However, if you’re interested in identifying the brightest areas, you might want to look into other methods like thresholding, histogram analysis, or edge detection, through openCV for example.

     

    Here is an openCV example:

     

    # bottom left coordinates = 0,0
import numpy as np
import cv2

# Load the HDR or EXR image
image = cv2.imread('your_image_path.exr', cv2.IMREAD_UNCHANGED)  # Load as-is without modification

# Calculate the luminance from the HDR channels (assuming RGB format)
luminance = np.dot(image[..., :3], [0.299, 0.587, 0.114])

# Set a threshold value based on estimated EV
threshold_value = 2.4  # Estimated threshold value based on 4.8 EV

# Apply the threshold to identify bright areas
# The luminance array contains the calculated luminance values for each pixel in the image. # The threshold_value is a user-defined value that represents a cutoff point, separating "bright" and "dark" areas in terms of perceived luminance.
    thresholded = (luminance > threshold_value) * 255 

# Convert the thresholded image to uint8 for contour detection 
thresholded = thresholded.astype(np.uint8) 

# Find contours of the bright areas 
contours, _ = cv2.findContours(thresholded, cv2.RETR_EXTERNAL, cv2.CHAIN_APPROX_SIMPLE) 

# Create a list to store the bounding boxes of bright areas 
bright_areas = [] 

# Iterate through contours and extract bounding boxes for contour in contours: 
x, y, w, h = cv2.boundingRect(contour) 

# Adjust y-coordinate based on bottom-left origin 
y_bottom_left_origin = image.shape[0] - (y + h) bright_areas.append((x, y_bottom_left_origin, x + w, y_bottom_left_origin + h)) 

# Store as (x1, y1, x2, y2) 
# Print the identified bright areas 
print("Bright Areas (x1, y1, x2, y2):") for area in bright_areas: print(area)

     

    More details

     

    Luminance and Exposure in an EXR Image:

    • An EXR (Extended Dynamic Range) image format is often used to store high dynamic range (HDR) images that contain a wide range of luminance values, capturing both dark and bright areas.
    • Luminance refers to the perceived brightness of a pixel in an image. In an RGB image, luminance is often calculated using a weighted sum of the red, green, and blue channels, where different weights are assigned to each channel to account for human perception.
    • In an EXR image, the pixel values can represent radiometrically accurate scene values, including actual radiance or irradiance levels. These values are directly related to the amount of light emitted or reflected by objects in the scene.

     

    The luminance line is calculating the luminance of each pixel in the image using a weighted sum of the red, green, and blue channels. The three float values [0.299, 0.587, 0.114] are the weights used to perform this calculation.

     

    These weights are based on the concept of luminosity, which aims to approximate the perceived brightness of a color by taking into account the human eye’s sensitivity to different colors. The values are often derived from the NTSC (National Television System Committee) standard, which is used in various color image processing operations.

     

    Here’s the breakdown of the float values:

    • 0.299: Weight for the red channel.
    • 0.587: Weight for the green channel.
    • 0.114: Weight for the blue channel.

     

    The weighted sum of these channels helps create a grayscale image where the pixel values represent the perceived brightness. This technique is often used when converting a color image to grayscale or when calculating luminance for certain operations, as it takes into account the human eye’s sensitivity to different colors.

     

    For the threshold, remember that the exact relationship between EV values and pixel values can depend on the tone-mapping or normalization applied to the HDR image, as well as the dynamic range of the image itself.

     

    To establish a relationship between exposure and the threshold value, you can consider the relationship between linear and logarithmic scales:

    1. Linear and Logarithmic Scales:
      • Exposure values in an EXR image are often represented in logarithmic scales, such as EV (exposure value). Each increment in EV represents a doubling or halving of the amount of light captured.
      • Threshold values for luminance thresholding are usually linear, representing an actual luminance level.
    2. Conversion Between Scales:

      • To establish a mathematical relationship, you need to convert between the logarithmic exposure scale and the linear threshold scale.

      • One common method is to use a power function. For instance, you can use a power function to convert EV to a linear intensity value.



       

      threshold_value = base_value * (2 ** EV)



      Here, EV is the exposure value, base_value is a scaling factor that determines the relationship between EV and threshold_value, and 2 ** EV is used to convert the logarithmic EV to a linear intensity value.


    3. Choosing the Base Value:
      • The base_value factor should be determined based on the dynamic range of your EXR image and the specific luminance values you are dealing with.
      • You may need to experiment with different values of base_value to achieve the desired separation of bright areas from the rest of the image.

     

    Let’s say you have an EXR image with a dynamic range of 12 EV, which is a common range for many high dynamic range images. In this case, you want to set a threshold value that corresponds to a certain number of EV above the middle gray level (which is often considered to be around 0.18).

    Here’s an example of how you might determine a base_value to achieve this:

     

    # Define the dynamic range of the image in EV
dynamic_range = 12

# Choose the desired number of EV above middle gray for thresholding
desired_ev_above_middle_gray = 2

# Calculate the threshold value based on the desired EV above middle gray
threshold_value = 0.18 * (2 ** (desired_ev_above_middle_gray / dynamic_range))

print("Threshold Value:", threshold_value)
    Views : 838
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    Read more: HDRI Median Cut plugin

  • Composition – These are the basic lighting techniques you need to know for photography and film

    pIXELsHAM.com

    http://www.diyphotography.net/basic-lighting-techniques-need-know-photography-film/

    Amongst the basic techniques, there’s…

    1- Side lighting – Literally how it sounds, lighting a subject from the side when they’re faced toward you

    2- Rembrandt lighting – Here the light is at around 45 degrees over from the front of the subject, raised and pointing down at 45 degrees

    3- Back lighting – Again, how it sounds, lighting a subject from behind. This can help to add drama with silouettes

    4- Rim lighting – This produces a light glowing outline around your subject

    5- Key light – The main light source, and it’s not necessarily always the brightest light source

    6- Fill light – This is used to fill in the shadows and provide detail that would otherwise be blackness

    7- Cross lighting – Using two lights placed opposite from each other to light two subjects

    Views : 1,200
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    Read more: Composition – These are the basic lighting techniques you need to know for photography and film

  • Victor Perez – CA Color Management Fundamentals & ACES Workflows in Foundry Nuke

    pIXELsHAM.com
    Views : 1,056
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    Read more: Victor Perez – CA Color Management Fundamentals & ACES Workflows in Foundry Nuke

  • What light is best to illuminate gems for resale

    pIXELsHAM.com

    www.palagems.com/gem-lighting2

     

    Artificial light sources, not unlike the diverse phases of natural light, vary considerably in their properties. As a result, some lamps render an object’s color better than others do.

     

    The most important criterion for assessing the color-rendering ability of any lamp is its spectral power distribution curve.

     

    Natural daylight varies too much in strength and spectral composition to be taken seriously as a lighting standard for grading and dealing colored stones. For anything to be a standard, it must be constant in its properties, which natural light is not.

     

    For dealers in particular to make the transition from natural light to an artificial light source, that source must offer:
    1- A degree of illuminance at least as strong as the common phases of natural daylight.
    2- Spectral properties identical or comparable to a phase of natural daylight.

     

    A source combining these two things makes gems appear much the same as when viewed under a given phase of natural light. From the viewpoint of many dealers, this corresponds to a naturalappearance.

     

    The 6000° Kelvin xenon short-arc lamp appears closest to meeting the criteria for a standard light source. Besides the strong illuminance this lamp affords, its spectrum is very similar to CIE standard illuminants of similar color temperature.

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  • Spectral Imaging in Production

    pIXELsHAM.com

     

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  • Creating A Relight Tool in Nuke

    pIXELsHAM.com

    https://raysun.io/2022/09/28/beyond-basics-creating-a-relight-tool/

     

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    Read more: Creating A Relight Tool in Nuke

  • Ethan Roffler interviews CG Supervisor Daniele Tosti

    pIXELsHAM.com

    Ethan Roffler
    I recently had the honor of interviewing this VFX genius and gained great insight into what it takes to work in the entertainment industry. Keep in mind, these questions are coming from an artist’s perspective but can be applied to any creative individual looking for some wisdom from a professional. So grab a drink, sit back, and enjoy this fun and insightful conversation.



    Ethan
    To start, I just wanted to say thank you so much for taking the time for this interview!

    Daniele
    My pleasure.
    When I started my career I struggled to find help. Even people in the industry at the time were not that helpful. Because of that, I decided very early on that I was going to do exactly the opposite. I spend most of my weekends talking or helping students. ;)

    Ethan
    That’s awesome! I have also come across the same struggle! Just a heads up, this will probably be the most informal interview you’ll ever have haha! Okay, so let’s start with a small introduction!

    Daniele
    Short introduction: I worked very hard and got lucky enough to work on great shows with great people. ;) Slightly longer version: I started working for a TV channel, very early, while I was learning about CG. Slowly made my way across the world, working along very great people and amazing shows. I learned that to be successful in this business, you have to really love what you do as much as respecting the people around you. What you do will improve to the final product; the way you work with people will make a difference in your life.

    Ethan
    How long have you been an artist?

    Daniele
    Loaded question. I believe I am still trying and craving to be one. After each production I finish I realize how much I still do not know. And how many things I would like to try. I guess in my CG Sup and generalist world, being an artist is about learning as much about the latest technologies and production cycles as I can, then putting that in practice. Having said that, I do consider myself a cinematographer first, as I have been doing that for about 25 years now.

    Ethan
    Words of true wisdom, the more I know the less I know:) How did you get your start in the industry?
    How did you break into such a competitive field?

    Daniele
    There were not many schools when I started. It was all about a few magazines, some books, and pushing software around trying to learn how to make pretty images. Opportunities opened because of that knowledge! The true break was learning to work hard to achieve a Suspension of Disbelief in my work that people would recognize as such. It’s not something everyone can do, but I was fortunate to not be scared of working hard, being a quick learner and having very good supervisors and colleagues to learn from.

    Ethan
    Which do you think is better, having a solid art degree or a strong portfolio?

    Daniele
    Very good question. A strong portfolio will get you a job now. A solid strong degree will likely get you a job for a longer period. Let me digress here; Working as an artist is not about being an artist, it’s about making money as an artist. Most people fail to make that difference and have either a poor career or lack the understanding to make a stable one. One should never mix art with working as an artist. You can do both only if you understand business and are fair to yourself.



    Ethan
    That’s probably the most helpful answer to that question I have ever heard.
    What’s some advice you can offer to someone just starting out who wants to break into the industry?

    Daniele
    Breaking in the industry is not just about knowing your art. It’s about knowing good business practices. Prepare a good demo reel based on the skill you are applying for; research all the places where you want to apply and why; send as many reels around; follow up each reel with a phone call. Business is all about right time, right place.

    Ethan
    A follow-up question to that is: Would you consider it a bad practice to send your demo reels out in mass quantity rather than focusing on a handful of companies to research and apply for?

    Daniele
    Depends how desperate you are… I would say research is a must. To improve your options, you need to know which company is working on what and what skills they are after. If you were selling vacuum cleaners you probably would not want to waste energy contacting shoemakers or cattle farmers.

    Ethan
    What do you think the biggest killer of creativity and productivity is for you?

    Daniele
    Money…If you were thinking as an artist. ;) If you were thinking about making money as an artist… then I would say “thinking that you work alone”.

    Ethan
    Best. Answer. Ever.
    What are ways you fight complacency and maintain fresh ideas, outlooks, and perspectives

    Daniele
    Two things: Challenge yourself to go outside your comfort zone. And think outside of the box.

    Ethan
    What are the ways/habits you have that challenge yourself to get out of your comfort zone and think outside the box?

    Daniele
    If you think you are a good character painter, pick up a camera and go take pictures of amazing landscapes. If you think you are good only at painting or sketching, learn how to code in python. If you cannot solve a problem, that being a project or a person, learn to ask for help or learn about looking at the problem from various perspectives. If you are introvert, learn to be extrovert. And vice versa. And so on…

    Ethan
    How do you avoid burnout?

    Daniele
    Oh… I wish I learned about this earlier. I think anyone that has a passion in something is at risk of burning out. Artists, more than many, because we see the world differently and our passion goes deep. You avoid burnouts by thinking that you are in a long term plan and that you have an obligation to pay or repay your talent by supporting and cherishing yourself and your family, not your paycheck. You do this by treating your art as a business and using business skills when dealing with your career and using artistic skills only when you are dealing with a project itself.

    Ethan
    Looking back, what was a big defining moment for you?

    Daniele
    Recognizing that people around you, those being colleagues, friends or family, come first.
    It changed my career overnight.

    Ethan
    Who are some of your personal heroes?

    Daniele
    Too many to list. Most recently… James Cameron; Joe Letteri; Lawrence Krauss; Richard Dawkins. Because they all mix science, art, and poetry in their own way.

    Ethan
    Last question:
    What’s your dream job? ;)

    Daniele
    Teaching artists to be better at being business people… as it will help us all improve our lives and the careers we took…

    Being a VFX artist is fundamentally based on mistrust.
    This because schedules, pipelines, technology, creative calls… all have a native and naive instability to them that causes everyone to grow a genuine but beneficial lack of trust in the status quo. This is a fine balance act to build into your character. The VFX motto: “Love everyone but trust no one” is born on that.

     

    Views : 3,513
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    Read more: Ethan Roffler interviews CG Supervisor Daniele Tosti

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