COMPOSITION
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7 Commandments of Film Editing and composition
Read more: 7 Commandments of Film Editing and composition
1. Watch every frame of raw footage twice. On the second time, take notes. If you don’t do this and try to start developing a scene premature, then it’s a big disservice to yourself and to the director, actors and production crew.
2. Nurture the relationships with the director. You are the secondary person in the relationship. Be calm and continually offer solutions. Get the main intention of the film as soon as possible from the director.
3. Organize your media so that you can find any shot instantly.
4. Factor in extra time for renders, exports, errors and crashes.
5. Attempt edits and ideas that shouldn’t work. It just might work. Until you do it and watch it, you won’t know. Don’t rule out ideas just because they don’t make sense in your mind.
6. Spend more time on your audio. It’s the glue of your edit. AUDIO SAVES EVERYTHING. Create fluid and seamless audio under your video.
7. Make cuts for the scene, but always in context for the whole film. Have a macro and a micro view at all times.
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Composition – These are the basic lighting techniques you need to know for photography and film
Read more: Composition – These are the basic lighting techniques you need to know for photography and film
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
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Types of Film Lights and their efficiency – CRI, Color Temperature and Luminous Efficacy
Read more: Types of Film Lights and their efficiency – CRI, Color Temperature and Luminous Efficacynofilmschool.com/types-of-film-lights
“Not every light performs the same way. Lights and lighting are tricky to handle. You have to plan for every circumstance. But the good news is, lighting can be adjusted. Let’s look at different factors that affect lighting in every scene you shoot. ”
Use CRI, Luminous Efficacy and color temperature controls to match your needs.
Color Temperature
Color temperature describes the “color” of white light by a light source radiated by a perfect black body at a given temperature measured in degrees Kelvinhttps://www.pixelsham.com/2019/10/18/color-temperature/
CRI
“The Color Rendering Index is a measurement of how faithfully a light source reveals the colors of whatever it illuminates, it describes the ability of a light source to reveal the color of an object, as compared to the color a natural light source would provide. The highest possible CRI is 100. A CRI of 100 generally refers to a perfect black body, like a tungsten light source or the sun. ”https://www.studiobinder.com/blog/what-is-color-rendering-index/
https://en.wikipedia.org/wiki/Color_rendering_index
Light source CCT (K) CRI Low-pressure sodium (LPS/SOX) 1800 −44 Clear mercury-vapor 6410 17 High-pressure sodium (HPS/SON) 2100 24 Coated mercury-vapor 3600 49 Halophosphate warm-white fluorescent 2940 51 Halophosphate cool-white fluorescent 4230 64 Tri-phosphor warm-white fluorescent 2940 73 Halophosphate cool-daylight fluorescent 6430 76 “White” SON 2700 82 Standard LED Lamp 2700–5000 83 Quartz metal halide 4200 85 Tri-phosphor cool-white fluorescent 4080 89 High-CRI LED lamp (blue LED) 2700–5000 95 Ceramic discharge metal-halide lamp 5400 96 Ultra-high-CRI LED lamp (violet LED) 2700–5000 99 Incandescent/halogen bulb 3200 100 Luminous Efficacy
Luminous efficacy is a measure of how well a light source produces visible light, watts out versus watts in, measured in lumens per watt. In other words it is a measurement that indicates the ability of a light source to emit visible light using a given amount of power. It is a ratio of the visible energy to the power that goes into the bulb.FILM LIGHT TYPES
Consumer light types
Tungsten Lights
Light interiors and match domestic places or office locations. Daylight.Advantages of Tungsten Lights
Almost perfect color rendition
Low cost
Does not use mercury like CFLs (fluorescent) or mercury vapor lights
Better color temperature than standard tungsten
Longer life than a conventional incandescent
Instant on to full brightness, no warm-up time, and it is dimmableDisadvantages of Tungsten Lights
Extremely hot
High power requirement
The lamp is sensitive to oils and cannot be touched
The bulb is capable of blowing and sending hot glass shards outward. A screen or layer of glass on the outside of the lamp can protect users.Hydrargyrum medium-arc iodide lights
HMI’s are used when high output is required. They are also used to recreate sun shining through windows or to fake additional sun while shooting exteriors. HMIs can light huge areas at once.Advantages of HMI lights
High light output
Higher efficiency
High color temperatureDisadvantages of HMI lights:
High cost
High power requirement
Dims only to about 50%
the color temperature increases with dimming
HMI bulbs will explode is dropped and release toxic chemicalsFluorescent
Fluorescent film lighting is achieved by laying multiple tubes next to each other, combining as many as you want for the desired brightness. The good news is you can choose your bulbs to either be warm or cool depending on the scenario you’re shooting. You want to get these bulbs close to the subject because they’re not great at opening up spaces. Fluorescent lighting is used to light interiors and is more compact and cooler than tungsten or HMI lighting.Advantages of Fluorescent lights
High efficiency
Low power requirement
Low cost
Long lamp life
Cool
Capable of soft even lighting over a large area
LightweightDisadvantages of Fluorescent lights
Flicker
High CRI
Domestic tubes have low CRI & poor color rendition.LED
LED’s are more and more common on film sets. You can use batteries to power them. That makes them portable and sleek – no messy cabled needed. You can rig your own panels of LED lights to fit any space necessary as well. LED’s can also power Fresnel style lamp heads such as the Arri L-series.Advantages of LED light
Soft, even lighting
Pure light without UV-artifacts
High efficiency
Low power consumption, can be battery powered
Excellent dimming by means of pulse width modulation control
Long lifespan
Environmentally friendly
Insensitive to shock
No risk of explosionDisadvantages of LED light
High cost.
LED’s are currently still expensive for their total light output
DESIGN
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Ranko Prozo – Modelling design tips
Read more: Ranko Prozo – Modelling design tipsEvery Project I work on I always create a stylization Cheat sheet. Every project is unique but some principles carry over no matter what. This is a sheet I use a lot when I work on isometric stylized projects to help keep my assets consistent and interesting. None of these concepts are my own, just lots of tips I learned over the years. I have also added this to a page on my website, will continue to update with more tips and tricks, just need time to compile it all :)
COLOR
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Space bodies’ components and light spectroscopy
Read more: Space bodies’ components and light spectroscopywww.plutorules.com/page-111-space-rocks.html
This help’s us understand the composition of components in/on solar system bodies.
Dips in the observed light spectrum, also known as, lines of absorption occur as gasses absorb energy from light at specific points along the light spectrum.
These dips or darkened zones (lines of absorption) leave a finger print which identify elements and compounds.
In this image the dark absorption bands appear as lines of emission which occur as the result of emitted not reflected (absorbed) light.
Lines of absorption
Lines of emission
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Virtual Production volumes study
Read more: Virtual Production volumes studyColor Fidelity in LED Volumes
https://theasc.com/articles/color-fidelity-in-led-volumes
Virtual Production Glossary
https://vpglossary.com/What is Virtual Production – In depth analysis
https://www.leadingledtech.com/what-is-a-led-virtual-production-studio-in-depth-technical-analysis/
A comparison of LED panels for use in Virtual Production:
Findings and recommendations
https://eprints.bournemouth.ac.uk/36826/1/LED_Comparison_White_Paper%281%29.pdf -
Björn Ottosson – How software gets color wrong
Read more: Björn Ottosson – How software gets color wronghttps://bottosson.github.io/posts/colorwrong/
Most software around us today are decent at accurately displaying colors. Processing of colors is another story unfortunately, and is often done badly.
To understand what the problem is, let’s start with an example of three ways of blending green and magenta:
- Perceptual blend – A smooth transition using a model designed to mimic human perception of color. The blending is done so that the perceived brightness and color varies smoothly and evenly.
- Linear blend – A model for blending color based on how light behaves physically. This type of blending can occur in many ways naturally, for example when colors are blended together by focus blur in a camera or when viewing a pattern of two colors at a distance.
- sRGB blend – This is how colors would normally be blended in computer software, using sRGB to represent the colors.
Let’s look at some more examples of blending of colors, to see how these problems surface more practically. The examples use strong colors since then the differences are more pronounced. This is using the same three ways of blending colors as the first example.
Instead of making it as easy as possible to work with color, most software make it unnecessarily hard, by doing image processing with representations not designed for it. Approximating the physical behavior of light with linear RGB models is one easy thing to do, but more work is needed to create image representations tailored for image processing and human perception.
Also see:
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RawTherapee – a free, open source, cross-platform raw image and HDRi processing program
Read more: RawTherapee – a free, open source, cross-platform raw image and HDRi processing program5.10 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.
LIGHTING
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Convert between light exposure and intensity
Read more: Convert between light exposure and intensityimport math,sys def Exposure2Intensity(exposure): exp = float(exposure) result = math.pow(2,exp) print(result) Exposure2Intensity(0) def Intensity2Exposure(intensity): inarg = float(intensity) if inarg == 0: print("Exposure of zero intensity is undefined.") return if inarg < 1e-323: inarg = max(inarg, 1e-323) print("Exposure of negative intensities is undefined. Clamping to a very small value instead (1e-323)") result = math.log(inarg, 2) print(result) Intensity2Exposure(0.1) -
Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning
Read more: Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning
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
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Arto T. – A workflow for creating photorealistic, equirectangular 360° panoramas in ComfyUI using Flux
Read more: Arto T. – A workflow for creating photorealistic, equirectangular 360° panoramas in ComfyUI using Fluxhttps://civitai.com/models/735980/flux-equirectangular-360-panorama
https://civitai.com/models/745010?modelVersionId=833115
The trigger phrase is “equirectangular 360 degree panorama”. I would avoid saying “spherical projection” since that tends to result in non-equirectangular spherical images.
Image resolution should always be a 2:1 aspect ratio. 1024 x 512 or 1408 x 704 work quite well and were used in the training data. 2048 x 1024 also works.
I suggest using a weight of 0.5 – 1.5. If you are having issues with the image generating too flat instead of having the necessary spherical distortion, try increasing the weight above 1, though this could negatively impact small details of the image. For Flux guidance, I recommend a value of about 2.5 for realistic scenes.
8-bit output at the moment
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Simulon – a Hollywood production studio app in the hands of an independent creator with access to consumer hardware, LDRi to HDRi through ML
Read more: Simulon – a Hollywood production studio app in the hands of an independent creator with access to consumer hardware, LDRi to HDRi through MLDivesh Naidoo: The video below was made with a live in-camera preview and auto-exposure matching, no camera solve, no HDRI capture and no manual compositing setup. Using the new Simulon phone app.
LDR to HDR through ML
https://simulon.typeform.com/betatest
Process example
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Open Source Nvidia Omniverse
Read 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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DiffusionLight: HDRI Light Probes for Free by Painting a Chrome Ball
Read more: DiffusionLight: HDRI Light Probes for Free by Painting a Chrome Ballhttps://diffusionlight.github.io/
https://github.com/DiffusionLight/DiffusionLight
https://github.com/DiffusionLight/DiffusionLight?tab=MIT-1-ov-file#readme
https://colab.research.google.com/drive/15pC4qb9mEtRYsW3utXkk-jnaeVxUy-0S
“a simple yet effective technique to estimate lighting in a single input image. Current techniques rely heavily on HDR panorama datasets to train neural networks to regress an input with limited field-of-view to a full environment map. However, these approaches often struggle with real-world, uncontrolled settings due to the limited diversity and size of their datasets. To address this problem, we leverage diffusion models trained on billions of standard images to render a chrome ball into the input image. Despite its simplicity, this task remains challenging: the diffusion models often insert incorrect or inconsistent objects and cannot readily generate images in HDR format. Our research uncovers a surprising relationship between the appearance of chrome balls and the initial diffusion noise map, which we utilize to consistently generate high-quality chrome balls. We further fine-tune an LDR difusion model (Stable Diffusion XL) with LoRA, enabling it to perform exposure bracketing for HDR light estimation. Our method produces convincing light estimates across diverse settings and demonstrates superior generalization to in-the-wild scenarios.”
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