Since spending a lot of time recently with SDXL I’ve since made my way back to SD 1.5
While the models overall have less fidelity. There is just no comparing to the current motion models we have available for animatediff with 1.5 models.
To date this is one of my favorite pieces. Not because I think it’s even the best it can be. But because the workflow adjustments unlocked some very important ideas I can’t wait to try out.
Performance by @silkenkelly and @itxtheballerina on IG
sRGB: A standard “web”/computer-display RGB color space defined by IEC 61966-2-1. It’s used for most monitors, cameras, printers, and the vast majority of images on the Internet.
Rec. 709: An HD-video color space defined by ITU-R BT.709. It’s the go-to standard for HDTV broadcasts, Blu-ray discs, and professional video pipelines.
Why they exist
sRGB: Ensures consistent colors across different consumer devices (PCs, phones, webcams).
Rec. 709: Ensures consistent colors across video production and playback chains (cameras → editing → broadcast → TV).
What you’ll see
On your desktop or phone, images tagged sRGB will look “right” without extra tweaking.
On an HDTV or video-editing timeline, footage tagged Rec. 709 will display accurate contrast and hue on broadcast-grade monitors.
The intricate relationship between the eyes and the brain, often termed the eye-mind connection, reveals that vision is predominantly a cognitive process. This understanding has profound implications for fields such as design, where capturing and maintaining attention is paramount. This essay delves into the nuances of visual perception, the brain’s role in interpreting visual data, and how this knowledge can be applied to effective design strategies.
This cognitive aspect of vision is evident in phenomena such as optical illusions, where the brain interprets visual information in a way that contradicts physical reality. These illusions underscore that what we “see” is not merely a direct recording of the external world but a constructed experience shaped by cognitive processes.
Understanding the cognitive nature of vision is crucial for effective design. Designers must consider how the brain processes visual information to create compelling and engaging visuals. This involves several key principles:
Chroma Key Green, the color of green screens is also known as Chroma Green and is valued at approximately 354C in the Pantone color matching system (PMS).
Chroma Green can be broken down in many different ways. Here is green screen green as other values useful for both physical and digital production:
Green Screen as RGB Color Value: 0, 177, 64
Green Screen as CMYK Color Value: 81, 0, 92, 0
Green Screen as Hex Color Value: #00b140
Green Screen as Websafe Color Value: #009933
Chroma Key Green is reasonably close to an 18% gray reflectance.
Illuminate your green screen with an uniform source with less than 2/3 EV variation.
The level of brightness at any given f-stop should be equivalent to a 90% white card under the same lighting.
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.
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.
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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