COMPOSITION
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Photography basics: Camera Aspect Ratio, Sensor Size and Depth of Field – resolutions
Read more: Photography basics: Camera Aspect Ratio, Sensor Size and Depth of Field – resolutionshttp://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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Ranko Prozo – Modelling design tips
Read more: Ranko Prozo – Modelling design tipsEvery Project I work on I always create a stylization Cheat sheet. Every project is unique but some principles carry over no matter what. This is a sheet I use a lot when I work on isometric stylized projects to help keep my assets consistent and interesting. None of these concepts are my own, just lots of tips I learned over the years. I have also added this to a page on my website, will continue to update with more tips and tricks, just need time to compile it all :)
COLOR
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What is a Gamut or Color Space and why do I need to know about CIE
Read more: What is a Gamut or Color Space and why do I need to know about CIE
http://www.xdcam-user.com/2014/05/what-is-a-gamut-or-color-space-and-why-do-i-need-to-know-about-it/
In video terms gamut is normally related to as the full range of colours and brightness that can be either captured or displayed.
Generally speaking all color gamuts recommendations are trying to define a reasonable level of color representation based on available technology and hardware. REC-601 represents the old TVs. REC-709 is currently the most distributed solution. P3 is mainly available in movie theaters and is now being adopted in some of the best new 4K HDR TVs. Rec2020 (a wider space than P3 that improves on visibke color representation) and ACES (the full coverage of visible color) are other common standards which see major hardware development these days.
To compare and visualize different solution (across video and printing solutions), most developers use the CIE color model chart as a reference.
The CIE color model is a color space model created by the International Commission on Illumination known as the Commission Internationale de l’Elcairage (CIE) in 1931. It is also known as the CIE XYZ color space or the CIE 1931 XYZ color space.
This chart represents the first defined quantitative link between distributions of wavelengths in the electromagnetic visible spectrum, and physiologically perceived colors in human color vision. Or basically, the range of color a typical human eye can perceive through visible light.
Note that while the human perception is quite wide, and generally speaking biased towards greens (we are apes after all), the amount of colors available through nature, generated through light reflection, tend to be a much smaller section. This is defined by the Pointer’s Chart.
In short. Color gamut is a representation of color coverage, used to describe data stored in images against available hardware and viewer technologies.
Camera color encoding from
https://www.slideshare.net/hpduiker/acescg-a-common-color-encoding-for-visual-effects-applications
CIE 1976
http://bernardsmith.eu/computatrum/scan_and_restore_archive_and_print/scanning/
https://store.yujiintl.com/blogs/high-cri-led/understanding-cie1931-and-cie-1976
The CIE 1931 standard has been replaced by a CIE 1976 standard. Below we can see the significance of this.
People have observed that the biggest issue with CIE 1931 is the lack of uniformity with chromaticity, the three dimension color space in rectangular coordinates is not visually uniformed.
The CIE 1976 (also called CIELUV) was created by the CIE in 1976. It was put forward in an attempt to provide a more uniform color spacing than CIE 1931 for colors at approximately the same luminance
The CIE 1976 standard colour space is more linear and variations in perceived colour between different people has also been reduced. The disproportionately large green-turquoise area in CIE 1931, which cannot be generated with existing computer screens, has been reduced.
If we move from CIE 1931 to the CIE 1976 standard colour space we can see that the improvements made in the gamut for the “new” iPad screen (as compared to the “old” iPad 2) are more evident in the CIE 1976 colour space than in the CIE 1931 colour space, particularly in the blues from aqua to deep blue.
https://dot-color.com/2012/08/14/color-space-confusion/
Despite its age, CIE 1931, named for the year of its adoption, remains a well-worn and familiar shorthand throughout the display industry. CIE 1931 is the primary language of customers. When a customer says that their current display “can do 72% of NTSC,” they implicitly mean 72% of NTSC 1953 color gamut as mapped against CIE 1931.
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Björn Ottosson – How software gets color wrong
Read more: Björn Ottosson – How software gets color wronghttps://bottosson.github.io/posts/colorwrong/
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.
Also see:
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Photography basics: Color Temperature and White Balance
Read more: Photography basics: Color Temperature and White Balance
Color 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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Anders Langlands – Render Color Spaces
Read more: Anders Langlands – Render Color Spaceshttps://www.colour-science.org/anders-langlands/
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.
LIGHTING
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Polarised vs unpolarized filtering
Read more: Polarised vs unpolarized filteringA 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)
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/
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