“I just created a AI-Generated podcast by feeding an article I write into Google’s NotebookLM. If I hadn’t make it myself, I would have been 100% fooled into thinking it was real people talking.”
This page compares images rendered in Arnold using spectral rendering and different sets of colourspace primaries: Rec.709, Rec.2020, ACES and DCI-P3. The SPD data for the GretagMacbeth Color Checker are the measurements of Noburu Ohta, taken from Mansencal, Mauderer and Parsons (2014) colour-science.org.
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.
Unlike previous methods like Gaussian Splatting, EVER leverages ellipsoids instead of Gaussians and uses Ray Tracing instead of Rasterization. This shift eliminates artifacts like popping and blending inconsistencies, offering sharper and more accurate renderings.
This is Ray3. The world’s first reasoning video model, and the first to generate studio-grade HDR. Now with an all-new Draft Mode for rapid iteration in creative workflows, and state of the art physics and consistency. Available now for free in Dream Machine.
Ray3’s native HDR delivers studio-grade fidelity. It generates video in 10, 12 & 16-bit high dynamic range with details in shadows and highlights in vivid color. Convert SDR to HDR, export EXR for seamless integration and unprecedented control in post-production workflows.
Reasoning enables Ray3 to understand nuanced directions, think in visuals and language tokens, and judge its generations to give you reliably better results. With Ray3 you can create more complex scenes, intricate multi-step motion, and do it all faster.
With reasoning, Ray3 can interpret visual annotations enabling creatives to now draw or scribble on images to direct performance, blocking, and camera movement. Refine motion, objects, and composition for precise visual control, all without prompting.
Draft Mode is a new way to iterate video ideas, fast. Explore ideas in a state of flow and get to your perfect shot. With Ray3’s new Hi-Fi diffusion pass, master your best shots into production-ready high-fidelity 4K HDR footage. 5x faster. 5x cheaper. 100x more fun.
Ray3 offers production-ready fidelity, high octane motion, preserved anatomy, physics simulations, world exploration, complex crowds, interactive lighting, caustics, motion blur, photorealism, and detail nuance, delivering visuals ready for high-end creative production pipelines.
Ray3 is an intelligent video model designed to tell stories. Ray3 is capable of thinking and reasoning in visuals and offers state of the art physics and consistency. In a world’s first, Ray3 generates videos in 16bit High Dynamic Range color bringing generative video to pro studio pipelines.The all-new Draft Mode enables you to explore many more ideas, much faster and tell better stories than ever before.
The law protects new works from unauthorized copying while allowing artists free rein on older works.
The Copyright Act of 1909 used to govern copyrights. Under that law, a creator had a copyright on his creation for 28 years from “publication,” which could then be renewed for another 28 years. Thus, after 56 years, a work would enter the public domain.
However, the Congress passed the Copyright Act of 1976, extending copyright protection for works made for hire to 75 years from publication.
Then again, in 1998, Congress passed the Sonny Bono Copyright Term Extension Act (derided as the “Mickey Mouse Protection Act” by some observers due to the Walt Disney Company’s intensive lobbying efforts), which added another twenty years to the term of copyright.
it is because Snow White was in the public domain that it was chosen to be Disney’s first animated feature.
Ironically, much of Disney’s legislative lobbying over the last several decades has been focused on preventing this same opportunity to other artists and filmmakers.
The battle in the coming years will be to prevent further extensions to copyright law that benefit corporations at the expense of creators and society as a whole.
An exposure stop is a unit measurement of Exposure as such it provides a universal linear scale to measure the increase and decrease in light, exposed to the image sensor, due to changes in shutter speed, iso and f-stop.
+-1 stop is a doubling or halving of the amount of light let in when taking a photo
1 EV (exposure value) is just another way to say one stop of exposure change.
Same applies to shutter speed, iso and aperture.
Doubling or halving your shutter speed produces an increase or decrease of 1 stop of exposure.
Doubling or halving your iso speed produces an increase or decrease of 1 stop of exposure.
