COMPOSITION
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SlowMoVideo – How to make a slow motion shot with the open source program
http://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.)
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7 Commandments of Film Editing and composition
Read more: 7 Commandments of Film Editing and composition1. 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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Photography basics: Camera Aspect Ratio, Sensor Size and Depth of Field – resolutions
http://www.shutterangle.com/2012/cinematic-look-aspect-ratio-sensor-size-depth-of-field/
http://www.shutterangle.com/2012/film-video-aspect-ratio-artistic-choice/
DESIGN
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Interactive Maps of Earthquakes around the world
https://ralucanicola.github.io/JSAPI_demos/earthquakes
https://ralucanicola.github.io/JSAPI_demos/earthquakes-depth
https://ralucanicola.github.io/JSAPI_demos/ridgecrest-earthquake
https://ralucanicola.github.io/JSAPI_demos/last-earthquakes
COLOR
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Photography basics: Color Temperature and White Balance
Read more: Photography basics: Color Temperature and White BalanceColor Temperature of a light source describes the spectrum of light which is radiated from a theoretical “blackbody” (an ideal physical body that absorbs all radiation and incident light – neither reflecting it nor allowing it to pass through) with a given surface temperature.
https://en.wikipedia.org/wiki/Color_temperature
Or. Most simply it is a method of describing the color characteristics of light through a numerical value that corresponds to the color emitted by a light source, measured in degrees of Kelvin (K) on a scale from 1,000 to 10,000.
More accurately. The color temperature of a light source is the temperature of an ideal backbody that radiates light of comparable hue to that of the light source.
As such, the color temperature of a light source is a numerical measurement of its color appearance. It is based on the principle that any object will emit light if it is heated to a high enough temperature, and that the color of that light will shift in a predictable manner as the temperature is increased. The system is based on the color changes of a theoretical “blackbody radiator” as it is heated from a cold black to a white hot state.
So, why do we measure the hue of the light as a “temperature”? This was started in the late 1800s, when the British physicist William Kelvin heated a block of carbon. It glowed in the heat, producing a range of different colors at different temperatures. The black cube first produced a dim red light, increasing to a brighter yellow as the temperature went up, and eventually produced a bright blue-white glow at the highest temperatures. In his honor, Color Temperatures are measured in degrees Kelvin, which are a variation on Centigrade degrees. Instead of starting at the temperature water freezes, the Kelvin scale starts at “absolute zero,” which is -273 Centigrade.
More about black bodies here: https://www.pixelsham.com/2013/03/14/black-body-color
Details in the post
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The 7 key elements of brand identity design + 10 corporate identity examples
Read more: The 7 key elements of brand identity design + 10 corporate identity exampleswww.lucidpress.com/blog/the-7-key-elements-of-brand-identity-design
1. Clear brand purpose and positioning
2. Thorough market research
3. Likable brand personality
4. Memorable logo
5. Attractive color palette
6. Professional typography
7. On-brand supporting graphics
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Polarised vs unpolarized filtering
A light wave that is vibrating in more than one plane is referred to as unpolarized light. …
Polarized light waves are light waves in which the vibrations occur in a single plane. The process of transforming unpolarized light into polarized light is known as polarization.
en.wikipedia.org/wiki/Polarizing_filter_(photography)
The most common use of polarized technology is to reduce lighting complexity on the subject.
Details such as glare and hard edges are not removed, but greatly reduced.This method is usually used in VFX to capture raw images with the least amount of specular diffusion or pollution, thus allowing artists to infer detail back through typical shading and rendering techniques and on demand.
Light reflected from a non-metallic surface becomes polarized; this effect is maximum at Brewster’s angle, about 56° from the vertical for common glass.
A polarizer rotated to pass only light polarized in the direction perpendicular to the reflected light will absorb much of it. This absorption allows glare reflected from, for example, a body of water or a road to be reduced. Reflections from shiny surfaces (e.g. vegetation, sweaty skin, water surfaces, glass) are also reduced. This allows the natural color and detail of what is beneath to come through. Reflections from a window into a dark interior can be much reduced, allowing it to be seen through. (The same effects are available for vision by using polarizing sunglasses.)
www.physicsclassroom.com/class/light/u12l1e.cfm
Some of the light coming from the sky is polarized (bees use this phenomenon for navigation). The electrons in the air molecules cause a scattering of sunlight in all directions. This explains why the sky is not dark during the day. But when looked at from the sides, the light emitted from a specific electron is totally polarized.[3] Hence, a picture taken in a direction at 90 degrees from the sun can take advantage of this polarization.
Use of a polarizing filter, in the correct direction, will filter out the polarized component of skylight, darkening the sky; the landscape below it, and clouds, will be less affected, giving a photograph with a darker and more dramatic sky, and emphasizing the clouds.
There are two types of polarizing filters readily available, linear and “circular”, which have exactly the same effect photographically. But the metering and auto-focus sensors in certain cameras, including virtually all auto-focus SLRs, will not work properly with linear polarizers because the beam splitters used to split off the light for focusing and metering are polarization-dependent.
Polarizing filters reduce the light passed through to the film or sensor by about one to three stops (2–8×) depending on how much of the light is polarized at the filter angle selected. Auto-exposure cameras will adjust for this by widening the aperture, lengthening the time the shutter is open, and/or increasing the ASA/ISO speed of the camera.
www.adorama.com/alc/nd-filter-vs-polarizer-what%25e2%2580%2599s-the-difference
Neutral Density (ND) filters help control image exposure by reducing the light that enters the camera so that you can have more control of your depth of field and shutter speed. Polarizers or polarizing filters work in a similar way, but the difference is that they selectively let light waves of a certain polarization pass through. This effect helps create more vivid colors in an image, as well as manage glare and reflections from water surfaces. Both are regarded as some of the best filters for landscape and travel photography as they reduce the dynamic range in high-contrast images, thus enabling photographers to capture more realistic and dramatic sceneries.
shopfelixgray.com/blog/polarized-vs-non-polarized-sunglasses/
www.eyebuydirect.com/blog/difference-polarized-nonpolarized-sunglasses/
LIGHTING
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Lighting Every Darkness with 3DGS: Fast Training and Real-Time Rendering and Denoising for HDR View Synthesis
Read more: Lighting Every Darkness with 3DGS: Fast Training and Real-Time Rendering and Denoising for HDR View Synthesishttps://srameo.github.io/projects/le3d/
LE3D is a method for real-time HDR view synthesis from RAW images. It is particularly effective for nighttime scenes.
https://github.com/Srameo/LE3D
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HDRI Resources
Read more: HDRI ResourcesText2Light
- https://www.cgtrader.com/free-3d-models/exterior/other/10-free-hdr-panoramas-created-with-text2light-zero-shot
- https://frozenburning.github.io/projects/text2light/
- https://github.com/FrozenBurning/Text2Light
Royalty free links
- https://locationtextures.com/panoramas/
- http://www.noahwitchell.com/freebies
- https://polyhaven.com/hdris
- https://hdrmaps.com/
- https://www.ihdri.com/
- https://hdrihaven.com/
- https://www.domeble.com/
- http://www.hdrlabs.com/sibl/archive.html
- https://www.hdri-hub.com/hdrishop/hdri
- http://noemotionhdrs.net/hdrevening.html
- https://www.openfootage.net/hdri-panorama/
- https://www.zwischendrin.com/en/browse/hdri
Nvidia GauGAN360
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About green screens
Read 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. -
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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