COMPOSITION
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SlowMoVideo – How to make a slow motion shot with the open source programRead more: SlowMoVideo – How to make a slow motion shot with the open source programhttp://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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About green screensRead more: About green screenshackaday.com/2015/02/07/how-green-screen-worked-before-computers/ www.newtek.com/blog/tips/best-green-screen-materials/ www.chromawall.com/blog//chroma-key-green 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: #009933Chroma 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.
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colorhunt.coRead more: colorhunt.coColor Hunt is a free and open platform for color inspiration with thousands of trendy hand-picked color palettes.  
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Brett Jones / Phil Reyneri (Lightform) / Philipp7pc: The study of Projection Mapping through ProjectorsRead 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/
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sRGB vs REC709 – An introduction and FFmpeg implementationsRead more: sRGB vs REC709 – An introduction and FFmpeg implementations 1. Basic Comparison- What they are
- 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.
 
 
 2. Digging DeeperFeature sRGB Rec. 709 White point D65 (6504 K), same for both D65 (6504 K) Primaries (x,y) R: (0.640, 0.330) G: (0.300, 0.600) B: (0.150, 0.060) R: (0.640, 0.330) G: (0.300, 0.600) B: (0.150, 0.060) Gamut size Identical triangle on CIE 1931 chart Identical to sRGB Gamma / transfer Piecewise curve: approximate 2.2 with linear toe Pure power-law γ≈2.4 (often approximated as 2.2 in practice) Matrix coefficients N/A (pure RGB usage) Y = 0.2126 R + 0.7152 G + 0.0722 B (Rec. 709 matrix) Typical bit-depth 8-bit/channel (with 16-bit variants) 8-bit/channel (10-bit for professional video) Usage metadata Tagged as “sRGB” in image files (PNG, JPEG, etc.) Tagged as “bt709” in video containers (MP4, MOV) Color range Full-range RGB (0–255) Studio-range Y′CbCr (Y′ [16–235], Cb/Cr [16–240]) 
 Why the Small Differences Matter(more…)
- What they are
LIGHTING
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NVidia DiffusionRenderer – Neural Inverse and Forward Rendering with Video Diffusion Models. How NVIDIA reimagined relightingRead more: NVidia DiffusionRenderer – Neural Inverse and Forward Rendering with Video Diffusion Models. How NVIDIA reimagined relightinghttps://www.fxguide.com/quicktakes/diffusing-reality-how-nvidia-reimagined-relighting/ https://research.nvidia.com/labs/toronto-ai/DiffusionRenderer/ 
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What is the Light Field?Read more: What is the Light Field?http://lightfield-forum.com/what-is-the-lightfield/ The light field consists of the total of all light rays in 3D space, flowing through every point and in every direction. How to Record a Light Field- a single, robotically controlled camera
- a rotating arc of cameras
- an array of cameras or camera modules
- a single camera or camera lens fitted with a microlens array
 
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How to Direct and Edit a Fight Scene for Rhythm and PacingRead more: How to Direct and Edit a Fight Scene for Rhythm and Pacingwww.premiumbeat.com/blog/directing-fight-scene-cinematography/ 1- Frame the action 2- Stage the action 3- Use camera movements 4- Set a rhythm 5- Control the speed of the action 
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Light and Matter : The 2018 theory of Physically-Based Rendering and Shading by AllegorithmicRead 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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Bella – Fast Spectral RenderingRead more: Bella – Fast Spectral RenderingBella works in spectral space, allowing effects such as BSDF wavelength dependency, diffraction, or atmosphere to be modeled far more accurately than in color space. https://superrendersfarm.com/blog/uncategorized/bella-a-new-spectral-physically-based-renderer/ 
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Aputure AL-F7 – dimmable Led Video Light, CRI95+, 3200-9500KRead more: Aputure AL-F7 – dimmable Led Video Light, CRI95+, 3200-9500KHigh CRI of ≥95 256 LEDs with 45° beam angle 3200 to 9500K variable color temperature 1 to 100% Stepless Dimming, 1500 Lux Brightness at 3.3′ LCD Info Screen. Powered by an L-series battery, D-Tap, or USB-C Because the light has a variable color range of 3200 to 9500K, when the light is set to 5500K (daylight balanced) both sets of LEDs are on at full, providing the maximum brightness from this fixture when compared to using the light at 3200 or 9500K. The LCD screen provides information on the fixture’s output as well as the charge state of the battery. The screen also indicates whether the adjustment knob is controlling brightness or color temperature. To switch from brightness to CCT or CCT to brightness, just apply a short press to the adjustment knob. The included cold shoe ball joint adapter enables mounting the light to your camera’s accessory shoe via the 1/4″-20 threaded hole on the fixture. In addition, the bottom of the cold shoe foot features a 3/8″-16 threaded hole, and includes a 3/8″-16 to 1/4″-20 reducing bushing.  
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