https://customersuccess.autodesk.com/learning/course/introduction-to-shotgrid
Learn about ShotGrid’s basic capabilities and functionality in this introductory course. Set up your account, gain an understanding of the structure of data within ShotGrid, learn to navigate ShotGrid, determine your role, including what you can and cannot do, and customize the view of on-screen data.
Steve Wright
https://www.linkedin.com/pulse/why-oh-premultiply-steve-wright/
James Pratt
https://jamesprattvfx.wordpress.com/2018/11/08/premult-unpremult/
The simple definition of premult is to multiply the alpha and the RGB of the input together.
Un-Premult suggests that this does the opposite operation to the premult node. Therefore instead of multiplying the RGB values by the alpha, it divides instead.
Alan Martinez
“Unpremult” and “premult” are terms used in digital compositing that are relevant for both those working with computer-generated graphics (CG) and those working with live-action plates.
“Unpremult” is short for “unpremultiply” and refers to the action of undoing the multiplication of a pixel by its alpha value. It is commonly used to avoid halos or unwanted edges when combining images. (This by making sure that edits to a layer are added independently from edges’ opacity levels.)
“Premult” is short for “premultiply” and is the opposite process of “unpremult.” In this case, each pixel in an image is multiplied by its alpha value.
In simple terms, premult crops the RGB by its alpha, while unpremult does the opposite.
It’s important to perform color corrections on CG renders in a sort of sandwich approach. First, divide the image to extend the edges fully of the RGB channels. Then, apply the necessary color corrections. Finally, pre-multiply the image again to avoid artifacts on the edges.
Typically, most 3D rendered images are premultiplied. As a rule of thumb, if the background is black or even just very dark, the image may be premultiplied. Additionally, most of the time, the 3D render has antialiasing in the edges.
Aaron Strasbourg
https://www.aaronstrasbourgvfx.com/post/2017/06/23/002-unpremult-and-premult
https://keentools.io/products/geotracker-for-blender
https://color-lab-eilat.github.io/Spectral-sensitivity-estimation-web/
A number of problems in computer vision and related fields would be mitigated if camera spectral sensitivities were known. As consumer cameras are not designed for high-precision visual tasks, manufacturers do not disclose spectral sensitivities. Their estimation requires a costly optical setup, which triggered researchers to come up with numerous indirect methods that aim to lower cost and complexity by using color targets. However, the use of color targets gives rise to new complications that make the estimation more difficult, and consequently, there currently exists no simple, low-cost, robust go-to method for spectral sensitivity estimation that non-specialized research labs can adopt. Furthermore, even if not limited by hardware or cost, researchers frequently work with imagery from multiple cameras that they do not have in their possession.
To provide a practical solution to this problem, we propose a framework for spectral sensitivity estimation that not only does not require any hardware (including a color target), but also does not require physical access to the camera itself. Similar to other work, we formulate an optimization problem that minimizes a two-term objective function: a camera-specific term from a system of equations, and a universal term that bounds the solution space.
Different than other work, we utilize publicly available high-quality calibration data to construct both terms. We use the colorimetric mapping matrices provided by the Adobe DNG Converter to formulate the camera-specific system of equations, and constrain the solutions using an autoencoder trained on a database of ground-truth curves. On average, we achieve reconstruction errors as low as those that can arise due to manufacturing imperfections between two copies of the same camera. We provide predicted sensitivities for more than 1,000 cameras that the Adobe DNG Converter currently supports, and discuss which tasks can become trivial when camera responses are available.
https://help.autodesk.com/view/ARNOL/ENU/?guid=arnold_user_guide_ac_denoising_html
AOV denoising: While all denoisers work on arbitrary AOVs, not all denoisers guarantee that the denoised AOVs composite together to match the denoised beauty. The AOV column indicates whether a denoiser has robust AOV denoising and can produce a result where denoised_AOV_1 + denoised_AOV_2 + … + denoised_AOV_N = denoised_Beauty.
OptiX™ Denoiser imager
This imager is available as a post-processing effect. The imager also exposes additional controls for clamping and blending the result. It is based on Nvidia AI technology and is integrated into Arnold for use with IPR and look dev. The OptiX™ denoiser is meant to be used during IPR (so that you get a very quickly denoised image as you’re moving the camera and making other adjustments).
OIDN Denoiser imager
The OIDN denoiser (based on Intel’s Open Image Denoise technology) is available as a post-processing effect. It is integrated into Arnold for use with IPR as an imager (so that you get a very quickly denoised image as you’re moving the camera and making other adjustments).
Arnold Denoiser (Noice)
The Arnold Denoiser (Noice) can be run from a dedicated UI, exposed in the Denoiser, or as an imager, you will need to render images out first via the Arnold EXR driver with variance AOVs enabled. It is also available as a stand-alone program (noice.exe).
This imager is available as a post-processing effect. You can automatically denoise images every time you render a scene, edit the denoising settings and see the resulting image directly in the render view. It favors quality over speed and is, therefore, more suitable for high-quality final frame denoising and animation sequences.
Note:
imager_denoiser_noice does not support temporal denoising (required for denoising an animation).
Color 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
1: Introduction Title: Managing a VFX Facility’s Render Wall
2: Daily Overview Title: Daily Management Routine
3: Resource Allocation Title: Efficient Resource Management
4: Job Prioritization Title: Prioritizing Rendering Tasks
5: Queue Optimization and Reporting Title: Streamlining Render Queues
6: Conclusion Title: Enhancing VFX Workflow