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.
DESIGN
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Turn Yourself Into an Action Figure Using ChatGPT
Read more: Turn Yourself Into an Action Figure Using ChatGPT
ChatGPT Action Figure Prompts:
Create an action figure from the photo. It must be visualised in a realistic way. There should be accessories next to the figure like a UX designer have, Macbook Pro, a camera, drawing tablet, headset etc. Add a hole to the top of the box in the action figure. Also write the text “UX Mate” and below it “Keep Learning! Keep Designing
Use this image to create a picture of a action figure toy of a construction worker in a blister package from head to toe with accessories including a hammer, a staple gun and a ladder. The package should read “Kirk The Handy Man”
Create a realistic image of a toy action figure box. The box should be designed in a toy-equipment/action-figure style, with a cut-out window at the top like classic action figure packaging. The main color of the box and moleskine notebook should match the color of my jacket (referenced visually). Add colorful Mexican skull decorations across the box for a vibrant and artistic flair. Inside the box, include a “Your name” action figure, posed heroically. Next to the figure, arrange the following “equipment” in a stylized layout: • item 1 • item 2 … On the box, write: “Your name” (bold title font) Underneath: “Your role or anything else” The entire scene should look like a real product mockup, highly realistic, lit like a studio product photo. On the box, write: “Your name” (bold title font) Underneath: “Your role or description” The entire scene should look like a real product mockup, highly realistic, lit like a studio product photo. Prompt on Kling AI The figure steps out of its toy packaging and begins walking forward. As he continues to walk, the camera gradually zooms out in sync with his movement.
“Create image. Create a toy of the person in the photo. Let it be an action figure. Next to the figure, there should be the toy’s equipment, each in its individual blisters. 1) a book called “Tecnoforma”. 2) A 3-headed dog with a tag that says “Troika” and a bone at its feet with word “austerity” written on it. 3) a three-headed Hydra with with a tag called “Geringonça”. 4) a book titled “D. Sebastião”. Don’t repeat the equipment under any circumstance. The card holding the blister should be strong orange. Also, on top of the box, write ‘Pedro Passos Coelho’ and underneath it, ‘PSD action figure’. The figure and equipment must all be inside blisters. Visualize this in a realistic way.”
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Pantheon of the War – The colossal war painting
Read more: Pantheon of the War – The colossal war paintingFour years in the making with the help of 150 artists, in commemoration of WW1.
edition.cnn.com/style/article/pantheon-de-la-guerre-wwi-painting/index.html
A panoramic canvas measuring 402 feet (122 meters) around and 45 feet (13.7 meters) high. It contained over 5,000 life-size portraits of war heroes, royalty and government officials from the Allies of World War I.
Partial section upload:
COLOR
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Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by Allegorithmic
Read more: Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by Allegorithmicacademy.substance3d.com/courses/the-pbr-guide-part-1
academy.substance3d.com/courses/the-pbr-guide-part-2
Local copy:
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What is a Gamut or Color Space and why do I need to know about CIE
Read more: What is a Gamut or Color Space and why do I need to know about CIE
http://www.xdcam-user.com/2014/05/what-is-a-gamut-or-color-space-and-why-do-i-need-to-know-about-it/
In video terms gamut is normally related to as the full range of colours and brightness that can be either captured or displayed.
Generally speaking all color gamuts recommendations are trying to define a reasonable level of color representation based on available technology and hardware. REC-601 represents the old TVs. REC-709 is currently the most distributed solution. P3 is mainly available in movie theaters and is now being adopted in some of the best new 4K HDR TVs. Rec2020 (a wider space than P3 that improves on visibke color representation) and ACES (the full coverage of visible color) are other common standards which see major hardware development these days.
To compare and visualize different solution (across video and printing solutions), most developers use the CIE color model chart as a reference.
The CIE color model is a color space model created by the International Commission on Illumination known as the Commission Internationale de l’Elcairage (CIE) in 1931. It is also known as the CIE XYZ color space or the CIE 1931 XYZ color space.
This chart represents the first defined quantitative link between distributions of wavelengths in the electromagnetic visible spectrum, and physiologically perceived colors in human color vision. Or basically, the range of color a typical human eye can perceive through visible light.
Note that while the human perception is quite wide, and generally speaking biased towards greens (we are apes after all), the amount of colors available through nature, generated through light reflection, tend to be a much smaller section. This is defined by the Pointer’s Chart.
In short. Color gamut is a representation of color coverage, used to describe data stored in images against available hardware and viewer technologies.
Camera color encoding from
https://www.slideshare.net/hpduiker/acescg-a-common-color-encoding-for-visual-effects-applications
CIE 1976
http://bernardsmith.eu/computatrum/scan_and_restore_archive_and_print/scanning/
https://store.yujiintl.com/blogs/high-cri-led/understanding-cie1931-and-cie-1976
The CIE 1931 standard has been replaced by a CIE 1976 standard. Below we can see the significance of this.
People have observed that the biggest issue with CIE 1931 is the lack of uniformity with chromaticity, the three dimension color space in rectangular coordinates is not visually uniformed.
The CIE 1976 (also called CIELUV) was created by the CIE in 1976. It was put forward in an attempt to provide a more uniform color spacing than CIE 1931 for colors at approximately the same luminance
The CIE 1976 standard colour space is more linear and variations in perceived colour between different people has also been reduced. The disproportionately large green-turquoise area in CIE 1931, which cannot be generated with existing computer screens, has been reduced.
If we move from CIE 1931 to the CIE 1976 standard colour space we can see that the improvements made in the gamut for the “new” iPad screen (as compared to the “old” iPad 2) are more evident in the CIE 1976 colour space than in the CIE 1931 colour space, particularly in the blues from aqua to deep blue.
https://dot-color.com/2012/08/14/color-space-confusion/
Despite its age, CIE 1931, named for the year of its adoption, remains a well-worn and familiar shorthand throughout the display industry. CIE 1931 is the primary language of customers. When a customer says that their current display “can do 72% of NTSC,” they implicitly mean 72% of NTSC 1953 color gamut as mapped against CIE 1931.
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What Is The Resolution and view coverage Of The human Eye. And what distance is TV at best?
Read more: What Is The Resolution and view coverage Of The human Eye. And what distance is TV at best?
https://www.discovery.com/science/mexapixels-in-human-eye
About 576 megapixels for the entire field of view.
Consider a view in front of you that is 90 degrees by 90 degrees, like looking through an open window at a scene. The number of pixels would be:
90 degrees * 60 arc-minutes/degree * 1/0.3 * 90 * 60 * 1/0.3 = 324,000,000 pixels (324 megapixels).At any one moment, you actually do not perceive that many pixels, but your eye moves around the scene to see all the detail you want. But the human eye really sees a larger field of view, close to 180 degrees. Let’s be conservative and use 120 degrees for the field of view. Then we would see:
120 * 120 * 60 * 60 / (0.3 * 0.3) = 576 megapixels.
Or.
7 megapixels for the 2 degree focus arc… + 1 megapixel for the rest.
https://clarkvision.com/articles/eye-resolution.html
Details in the post
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Capturing textures albedo
Read more: Capturing textures albedoBuilding a Portable PBR Texture Scanner by Stephane Lb
http://rtgfx.com/pbr-texture-scanner/
How To Split Specular And Diffuse In Real Images, by John Hable
http://filmicworlds.com/blog/how-to-split-specular-and-diffuse-in-real-images/Capturing albedo using a Spectralon
https://www.activision.com/cdn/research/Real_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdfReal_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdf
Spectralon is a teflon-based pressed powderthat comes closest to being a pure Lambertian diffuse material that reflects 100% of all light. If we take an HDR photograph of the Spectralon alongside the material to be measured, we can derive thediffuse albedo of that material.
The process to capture diffuse reflectance is very similar to the one outlined by Hable.
1. We put a linear polarizing filter in front of the camera lens and a second linear polarizing filterin front of a modeling light or a flash such that the two filters are oriented perpendicular to eachother, i.e. cross polarized.
2. We place Spectralon close to and parallel with the material we are capturing and take brack-eted shots of the setup7. Typically, we’ll take nine photographs, from -4EV to +4EV in 1EVincrements.
3. We convert the bracketed shots to a linear HDR image. We found that many HDR packagesdo not produce an HDR image in which the pixel values are linear. PTGui is an example of apackage which does generate a linear HDR image. At this point, because of the cross polarization,the image is one of surface diffuse response.
4. We open the file in Photoshop and normalize the image by color picking the Spectralon, filling anew layer with that color and setting that layer to “Divide”. This sets the Spectralon to 1 in theimage. All other color values are relative to this so we can consider them as diffuse albedo.
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) -
Photography basics: Solid Angle measures
Read more: Photography basics: Solid Angle measureshttp://www.calculator.org/property.aspx?name=solid+angle
A measure of how large the object appears to an observer looking from that point. Thus. A measure for objects in the sky. Useful to retuen the size of the sun and moon… and in perspective, how much of their contribution to lighting. Solid angle can be represented in ‘angular diameter’ as well.
http://en.wikipedia.org/wiki/Solid_angle
http://www.mathsisfun.com/geometry/steradian.html
A solid angle is expressed in a dimensionless unit called a steradian (symbol: sr). By default in terms of the total celestial sphere and before atmospheric’s scattering, the Sun and the Moon subtend fractional areas of 0.000546% (Sun) and 0.000531% (Moon).
http://en.wikipedia.org/wiki/Solid_angle#Sun_and_Moon
On earth the sun is likely closer to 0.00011 solid angle after athmospheric scattering. The sun as perceived from earth has a diameter of 0.53 degrees. This is about 0.000064 solid angle.
http://www.numericana.com/answer/angles.htm
The mean angular diameter of the full moon is 2q = 0.52° (it varies with time around that average, by about 0.009°). This translates into a solid angle of 0.0000647 sr, which means that the whole night sky covers a solid angle roughly one hundred thousand times greater than the full moon.
More info
http://lcogt.net/spacebook/using-angles-describe-positions-and-apparent-sizes-objects
http://amazing-space.stsci.edu/glossary/def.php.s=topic_astronomy
Angular Size
The apparent size of an object as seen by an observer; expressed in units of degrees (of arc), arc minutes, or arc seconds. The moon, as viewed from the Earth, has an angular diameter of one-half a degree.
The angle covered by the diameter of the full moon is about 31 arcmin or 1/2°, so astronomers would say the Moon’s angular diameter is 31 arcmin, or the Moon subtends an angle of 31 arcmin.
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Vahan Sosoyan MakeHDR – an OpenFX open source plug-in for merging multiple LDR images into a single HDRI
Read more: Vahan Sosoyan MakeHDR – an OpenFX open source plug-in for merging multiple LDR images into a single HDRIhttps://github.com/Sosoyan/make-hdr
Feature notes
- Merge up to 16 inputs with 8, 10 or 12 bit depth processing
- User friendly logarithmic Tone Mapping controls within the tool
- Advanced controls such as Sampling rate and Smoothness
Available at cross platform on Linux, MacOS and Windows Works consistent in compositing applications like Nuke, Fusion, Natron.
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
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