COMPOSITION
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Composition – How to make a slow motion shot
Read more: Composition – How to make a slow motion shothttp://www.slomovideo.com/slowhow.html
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….
DESIGN
COLOR
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Image rendering bit depth
Read more: Image rendering bit depthThe terms 16-bit, 16-bit float, and 32-bit refer to different data formats used to store and represent image information, as bits per pixel.
https://en.wikipedia.org/wiki/Color_depth
In color technology, color depth also known as bit depth, is either the number of bits used to indicate the color of a single pixel, OR the number of bits used for each color component of a single pixel.
When referring to a pixel, the concept can be defined as bits per pixel (bpp).
When referring to a color component, the concept can be defined as bits per component, bits per channel, bits per color (all three abbreviated bpc), and also bits per pixel component, bits per color channel or bits per sample (bps). Modern standards tend to use bits per component, but historical lower-depth systems used bits per pixel more often.
Color depth is only one aspect of color representation, expressing the precision with which the amount of each primary can be expressed; the other aspect is how broad a range of colors can be expressed (the gamut). The definition of both color precision and gamut is accomplished with a color encoding specification which assigns a digital code value to a location in a color space.
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Tobia Montanari – Memory Colors: an essential tool for Colorists
Read more: Tobia Montanari – Memory Colors: an essential tool for Coloristshttps://www.tobiamontanari.com/memory-colors-an-essential-tool-for-colorists/
“Memory colors are colors that are universally associated with specific objects, elements or scenes in our environment. They are the colors that we expect to see in specific situations: these colors are based on our expectation of how certain objects should look based on our past experiences and memories.
For instance, we associate specific hues, saturation and brightness values with human skintones and a slight variation can significantly affect the way we perceive a scene.
Similarly, we expect blue skies to have a particular hue, green trees to be a specific shade and so on.
Memory colors live inside of our brains and we often impose them onto what we see. By considering them during the grading process, the resulting image will be more visually appealing and won’t distract the viewer from the intended message of the story. Even a slight deviation from memory colors in a movie can create a sense of discordance, ultimately detracting from the viewer’s experience.”
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No one could see the colour blue until modern times
Read more: No one could see the colour blue until modern timeshttps://www.businessinsider.com/what-is-blue-and-how-do-we-see-color-2015-2
The way that humans see the world… until we have a way to describe something, even something so fundamental as a colour, we may not even notice that something it’s there.
Ancient languages didn’t have a word for blue — not Greek, not Chinese, not Japanese, not Hebrew, not Icelandic cultures. And without a word for the colour, there’s evidence that they may not have seen it at all.
https://www.wnycstudios.org/story/211119-colors
Every language first had a word for black and for white, or dark and light. The next word for a colour to come into existence — in every language studied around the world — was red, the colour of blood and wine.
After red, historically, yellow appears, and later, green (though in a couple of languages, yellow and green switch places). The last of these colours to appear in every language is blue.
The only ancient culture to develop a word for blue was the Egyptians — and as it happens, they were also the only culture that had a way to produce a blue dye.
https://mymodernmet.com/shades-of-blue-color-history/
Considered to be the first ever synthetically produced color pigment, Egyptian blue (also known as cuprorivaite) was created around 2,200 B.C. It was made from ground limestone mixed with sand and a copper-containing mineral, such as azurite or malachite, which was then heated between 1470 and 1650°F. The result was an opaque blue glass which then had to be crushed and combined with thickening agents such as egg whites to create a long-lasting paint or glaze.
If you think about it, blue doesn’t appear much in nature — there aren’t animals with blue pigments (except for one butterfly, Obrina Olivewing, all animals generate blue through light scattering), blue eyes are rare (also blue through light scattering), and blue flowers are mostly human creations. There is, of course, the sky, but is that really blue?
So before we had a word for it, did people not naturally see blue? Do you really see something if you don’t have a word for it?
A researcher named Jules Davidoff traveled to Namibia to investigate this, where he conducted an experiment with the Himba tribe, who speak a language that has no word for blue or distinction between blue and green. When shown a circle with 11 green squares and one blue, they couldn’t pick out which one was different from the others.
When looking at a circle of green squares with only one slightly different shade, they could immediately spot the different one. Can you?
Davidoff says that without a word for a colour, without a way of identifying it as different, it’s much harder for us to notice what’s unique about it — even though our eyes are physically seeing the blocks it in the same way.
Further research brought to wider discussions about color perception in humans. Everything that we make is based on the fact that humans are trichromatic. The television only has 3 colors. Our color printers have 3 different colors. But some people, and in specific some women seemed to be more sensible to color differences… mainly because they’re just more aware or – because of the job that they do.
Eventually this brought to the discovery of a small percentage of the population, referred to as tetrachromats, which developed an extra cone sensitivity to yellow, likely due to gene modifications.
The interesting detail about these is that even between tetrachromats, only the ones that had a reason to develop, label and work with extra color sensitivity actually developed the ability to use their native skills.
So before blue became a common concept, maybe humans saw it. But it seems they didn’t know they were seeing it.
If you see something yet can’t see it, does it exist? Did colours come into existence over time? Not technically, but our ability to notice them… may have…
LIGHTING
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Composition – 5 tips for creating perfect cinematic lighting and making your work look stunning
Read more: Composition – 5 tips for creating perfect cinematic lighting and making your work look stunninghttp://www.diyphotography.net/5-tips-creating-perfect-cinematic-lighting-making-work-look-stunning/
1. Learn the rules of lighting
2. Learn when to break the rules
3. Make your key light larger
4. Reverse keying
5. Always be backlighting
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Outpost VFX lighting tips
Read more: Outpost VFX lighting tipswww.outpost-vfx.com/en/news/18-pro-tips-and-tricks-for-lighting
Get as much information regarding your plate lighting as possible
- Always use a reference
- Replicate what is happening in real life
- Invest into a solid HDRI
- Start Simple
- Observe real world lighting, photography and cinematography
- Don’t neglect the theory
- Learn the difference between realism and photo-realism.
- Keep your scenes organised
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