COMPOSITION
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HuggingFace ai-comic-factory – a FREE AI Comic Book Creator
Read more: HuggingFace ai-comic-factory – a FREE AI Comic Book Creatorhttps://huggingface.co/spaces/jbilcke-hf/ai-comic-factory
this is the epic story of a group of talented digital artists trying to overcame daily technical challenges to achieve incredibly photorealistic projects of monsters and aliens
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9 Best Hacks to Make a Cinematic Video with Any Camera
Read 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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Photography basics: Depth of Field and composition
Read more: Photography basics: Depth of Field and compositionDepth of field is the range within which focusing is resolved in a photo.
Aperture has a huge affect on to the depth of field.Changing the f-stops (f/#) of a lens will change aperture and as such the DOF.
f-stops are a just certain number which is telling you the size of the aperture. That’s how f-stop is related to aperture (and DOF).
If you increase f-stops, it will increase DOF, the area in focus (and decrease the aperture). On the other hand, decreasing the f-stop it will decrease DOF (and increase the aperture).
The red cone in the figure is an angular representation of the resolution of the system. Versus the dotted lines, which indicate the aperture coverage. Where the lines of the two cones intersect defines the total range of the depth of field.
This image explains why the longer the depth of field, the greater the range of clarity.
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SlowMoVideo – How to make a slow motion shot with the open source program
http://slowmovideo.granjow.net/
slowmoVideo is an OpenSource program that creates slow-motion videos from your footage.
Slow motion cinematography is the result of playing back frames for a longer duration than they were exposed. For example, if you expose 240 frames of film in one second, then play them back at 24 fps, the resulting movie is 10 times longer (slower) than the original filmed event….
Film cameras are relatively simple mechanical devices that allow you to crank up the speed to whatever rate the shutter and pull-down mechanism allow. Some film cameras can operate at 2,500 fps or higher (although film shot in these cameras often needs some readjustment in postproduction). Video, on the other hand, is always captured, recorded, and played back at a fixed rate, with a current limit around 60fps. This makes extreme slow motion effects harder to achieve (and less elegant) on video, because slowing down the video results in each frame held still on the screen for a long time, whereas with high-frame-rate film there are plenty of frames to fill the longer durations of time. On video, the slow motion effect is more like a slide show than smooth, continuous motion.
One obvious solution is to shoot film at high speed, then transfer it to video (a case where film still has a clear advantage, sorry George). Another possibility is to cross dissolve or blur from one frame to the next. This adds a smooth transition from one still frame to the next. The blur reduces the sharpness of the image, and compared to slowing down images shot at a high frame rate, this is somewhat of a cheat. However, there isn’t much you can do about it until video can be recorded at much higher rates. Of course, many film cameras can’t shoot at high frame rates either, so the whole super-slow-motion endeavor is somewhat specialized no matter what medium you are using. (There are some high speed digital cameras available now that allow you to capture lots of digital frames directly to your computer, so technology is starting to catch up with film. However, this feature isn’t going to appear in consumer camcorders any time soon.)
DESIGN
COLOR
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The 7 key elements of brand identity design + 10 corporate identity examples
Read more: The 7 key elements of brand identity design + 10 corporate identity exampleswww.lucidpress.com/blog/the-7-key-elements-of-brand-identity-design
1. Clear brand purpose and positioning
2. Thorough market research
3. Likable brand personality
4. Memorable logo
5. Attractive color palette
6. Professional typography
7. On-brand supporting graphics
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Pattern generators
Read more: Pattern generatorshttp://qrohlf.com/trianglify-generator/
https://halftonepro.com/app/polygons#
https://mattdesl.svbtle.com/generative-art-with-nodejs-and-canvas
https://www.patterncooler.com/
http://permadi.com/java/spaint/spaint.html
https://dribbble.com/shots/1847313-Kaleidoscope-Generator-PSD
http://eskimoblood.github.io/gerstnerizer/
http://www.stripegenerator.com/
http://btmills.github.io/geopattern/geopattern.html
http://fractalarchitect.net/FA4-Random-Generator.html
https://sciencevsmagic.net/fractal/#0605,0000,3,2,0,1,2
https://sites.google.com/site/mandelbulber/home
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Brett Jones / Phil Reyneri (Lightform) / Philipp7pc: The study of Projection Mapping through Projectors
Read more: Brett Jones / Phil Reyneri (Lightform) / Philipp7pc: The study of Projection Mapping through ProjectorsVideo Projection Tool Software
https://hcgilje.wordpress.com/vpt/https://www.projectorpoint.co.uk/news/how-bright-should-my-projector-be/
http://www.adwindowscreens.com/the_calculator/
heavym
https://heavym.net/en/MadMapper
https://madmapper.com/ -
THOMAS MANSENCAL – The Apparent Simplicity of RGB Rendering
https://thomasmansencal.substack.com/p/the-apparent-simplicity-of-rgb-rendering
The primary goal of physically-based rendering (PBR) is to create a simulation that accurately reproduces the imaging process of electro-magnetic spectrum radiation incident to an observer. This simulation should be indistinguishable from reality for a similar observer.
Because a camera is not sensitive to incident light the same way than a human observer, the images it captures are transformed to be colorimetric. A project might require infrared imaging simulation, a portion of the electro-magnetic spectrum that is invisible to us. Radically different observers might image the same scene but the act of observing does not change the intrinsic properties of the objects being imaged. Consequently, the physical modelling of the virtual scene should be independent of the observer.
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What causes color
www.webexhibits.org/causesofcolor/5.html
Water itself has an intrinsic blue color that is a result of its molecular structure and its behavior.
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colorhunt.co
Color Hunt is a free and open platform for color inspiration with thousands of trendy hand-picked color palettes.
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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.”
LIGHTING
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GretagMacbeth Color Checker Numeric Values and Middle Gray
The 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
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Neural Microfacet Fields for Inverse Rendering
Read more: Neural Microfacet Fields for Inverse Renderinghttps://half-potato.gitlab.io/posts/nmf/
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RawTherapee – a free, open source, cross-platform raw image and HDRi processing program
5.10 of this tool includes excellent tools to clean up cr2 and cr3 used on set to support HDRI processing.
Converting raw to AcesCG 32 bit tiffs with metadata. -
7 Easy Portrait Lighting Setups
Read more: 7 Easy Portrait Lighting SetupsButterfly
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sRGB vs REC709 – An introduction and FFmpeg implementations
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GretagMacbeth Color Checker Numeric Values and Middle Gray
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What’s the Difference Between Ray Casting, Ray Tracing, Path Tracing and Rasterization? Physical light tracing…
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Web vs Printing or digital RGB vs CMYK
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Key/Fill ratios and scene composition using false colors and Nuke node
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