COMPOSITION
-
7 Commandments of Film Editing and composition
Read more: 7 Commandments of Film Editing and composition
1. 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.
-
Cinematographers Blueprint 300dpi poster
Read more: Cinematographers Blueprint 300dpi posterThe 300dpi digital poster is now available to all PixelSham.com subscribers.
If you have already subscribed and wish a copy, please send me a note through the contact page.
-
Composition – cinematography Cheat Sheet
Read more: Composition – cinematography Cheat Sheet
Where is our eye attracted first? Why?
Size. Focus. Lighting. Color.
Size. Mr. White (Harvey Keitel) on the right.
Focus. He’s one of the two objects in focus.
Lighting. Mr. White is large and in focus and Mr. Pink (Steve Buscemi) is highlighted by
a shaft of light.
Color. Both are black and white but the read on Mr. White’s shirt now really stands out.
What type of lighting?-> High key lighting.
Features bright, even illumination and few conspicuous shadows. This lighting key is often used in musicals and comedies.Low key lighting
Features diffused shadows and atmospheric pools of light. This lighting key is often used in mysteries and thrillers.High contrast lighting
Features harsh shafts of lights and dramatic streaks of blackness. This type of lighting is often used in tragedies and melodramas.What type of shot?
Extreme long shot
Taken from a great distance, showing much of the locale. Ifpeople are included in these shots, they usually appear as mere specks-> Long shot
Corresponds to the space between the audience and the stage in a live theater. The long shots show the characters and some of the locale.Full shot
Range with just enough space to contain the human body in full. The full shot shows the character and a minimal amount of the locale.Medium shot
Shows the human figure from the knees or waist up.Close-Up
Concentrates on a relatively small object and show very little if any locale.Extreme close-up
Focuses on an unnaturally small portion of an object, giving that part great detail and symbolic significance.What angle?
Bird’s-eye view.
The shot is photographed directly from above. This type of shot can be disorienting, and the people photographed seem insignificant.High angle.
This angle reduces the size of the objects photographed. A person photographed from this angle seems harmless and insignificant, but to a lesser extent than with the bird’s-eye view.-> Eye-level shot.
The clearest view of an object, but seldom intrinsically dramatic, because it tends to be the norm.Low angle.
This angle increases high and a sense of verticality, heightening the importance of the object photographed. A person shot from this angle is given a sense of power and respect.Oblique angle.
For this angle, the camera is tilted laterally, giving the image a slanted appearance. Oblique angles suggest tension, transition, a impending movement. They are also called canted or dutch angles.What is the dominant color?
The use of color in this shot is symbolic. The scene is set in warehouse. Both the set and characters are blues, blacks and whites.
This was intentional allowing for the scenes and shots with blood to have a great level of contrast.
What is the Lens/Filter/Stock?
Telephoto lens.
A lens that draws objects closer but also diminishes the illusion of depth.Wide-angle lens.
A lens that takes in a broad area and increases the illusion of depth but sometimes distorts the edges of the image.Fast film stock.
Highly sensitive to light, it can register an image with little illumination. However, the final product tends to be grainy.Slow film stock.
Relatively insensitive to light, it requires a great deal of illumination. The final product tends to look polished.The lens is not wide-angle because there isn’t a great sense of depth, nor are several planes in focus. The lens is probably long but not necessarily a telephoto lens because the depth isn’t inordinately compressed.
The stock is fast because of the grainy quality of the image.
Subsidiary Contrast; where does the eye go next?
The two guns.
How much visual information is packed into the image? Is the texture stark, moderate, or highly detailed?
Minimalist clutter in the warehouse allows a focus on a character driven thriller.
What is the Composition?
Horizontal.
Compositions based on horizontal lines seem visually at rest and suggest placidity or peacefulness.Vertical.
Compositions based on vertical lines seem visually at rest and suggest strength.-> Diagonal.
Compositions based on diagonal, or oblique, lines seem dynamic and suggest tension or anxiety.-> Binary. Binary structures emphasize parallelism.
Triangle.
Triadic compositions stress the dynamic interplay among three mainCircle.
Circular compositions suggest security and enclosure.Is the form open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or a proscenium arch, in which the visual elements are carefully arranged and held in balance?
The most nebulous of all the categories of mise en scene, the type of form is determined by how consciously structured the mise en scene is. Open forms stress apparently simple techniques, because with these unself-conscious methods the filmmaker is able to emphasize the immediate, the familiar, the intimate aspects of reality. In open-form images, the frame tends to be deemphasized. In closed form images, all the necessary information is carefully structured within the confines of the frame. Space seems enclosed and self-contained rather than continuous.
Could argue this is a proscenium arch because this is such a classic shot with parallels and juxtapositions.
Is the framing tight or loose? Do the character have no room to move around, or can they move freely without impediments?
Shots where the characters are placed at the edges of the frame and have little room to move around within the frame are considered tight.
Longer shots, in which characters have room to move around within the frame, are considered loose and tend to suggest freedom.
Center-framed giving us the entire scene showing isolation, place and struggle.
Depth of Field. On how many planes is the image composed (how many are in focus)? Does the background or foreground comment in any way on the mid-ground?
Standard DOF, one background and clearly defined foreground.
Which way do the characters look vis-a-vis the camera?
An actor can be photographed in any of five basic positions, each conveying different psychological overtones.
Full-front (facing the camera):
the position with the most intimacy. The character is looking in our direction, inviting our complicity.Quarter Turn:
the favored position of most filmmakers. This position offers a high degree of intimacy but with less emotional involvement than the full-front.-> Profile (looking of the frame left or right):
More remote than the quarter turn, the character in profile seems unaware of being observed, lost in his or her own thoughts.Three-quarter Turn:
More anonymous than the profile, this position is useful for conveying a character’s unfriendly or antisocial feelings, for in effect, the character is partially turning his or her back on us, rejecting our interest.Back to Camera:
The most anonymous of all positions, this position is often used to suggest a character’s alienation from the world. When a character has his or her back to the camera, we can only guess what’s taking place internally, conveying a sense of concealment, or mystery.How much space is there between the characters?
Extremely close, for a gunfight.
The way people use space can be divided into four proxemic patterns.
Intimate distances.
The intimate distance ranges from skin contact to about eighteen inches away. This is the distance of physical involvement–of love, comfort, and tenderness between individuals.-> Personal distances.
The personal distance ranges roughly from eighteen inches away to about four feet away. These distances tend to be reserved for friends and acquaintances. Personal distances preserve the privacy between individuals, yet these rages don’t necessarily suggest exclusion, as intimate distances often do.Social distances.
The social distance rages from four feet to about twelve feet. These distances are usually reserved for impersonal business and casual social gatherings. It’s a friendly range in most cases, yet somewhat more formal than the personal distance.Public distances.
The public distance extends from twelve feet to twenty-five feet or more. This range tends to be formal and rather detached.
DESIGN
COLOR
-
Tim Kang – calibrated white light values in sRGB color space
Read more: Tim Kang – calibrated white light values in sRGB color space8bit sRGB encoded
2000K 255 139 22
2700K 255 172 89
3000K 255 184 109
3200K 255 190 122
4000K 255 211 165
4300K 255 219 178
D50 255 235 205
D55 255 243 224
D5600 255 244 227
D6000 255 249 240
D65 255 255 255
D10000 202 221 255
D20000 166 196 2558bit Rec709 Gamma 2.4
2000K 255 145 34
2700K 255 177 97
3000K 255 187 117
3200K 255 193 129
4000K 255 214 170
4300K 255 221 182
D50 255 236 208
D55 255 243 226
D5600 255 245 229
D6000 255 250 241
D65 255 255 255
D10000 204 222 255
D20000 170 199 2558bit Display P3 encoded
2000K 255 154 63
2700K 255 185 109
3000K 255 195 127
3200K 255 201 138
4000K 255 219 176
4300K 255 225 187
D50 255 239 212
D55 255 245 228
D5600 255 246 231
D6000 255 251 242
D65 255 255 255
D10000 208 223 255
D20000 175 199 25510bit Rec2020 PQ (100 nits)
2000K 520 435 273
2700K 520 466 358
3000K 520 475 384
3200K 520 480 399
4000K 520 495 446
4300K 520 500 458
D50 520 510 482
D55 520 514 497
D5600 520 514 500
D6000 520 517 509
D65 520 520 520
D10000 479 489 520
D20000 448 464 520
-
Capturing textures albedo
Read more: Capturing textures albedoBuilding a Portable PBR Texture Scanner by Stephane Lb
http://rtgfx.com/pbr-texture-scanner/
How To Split Specular And Diffuse In Real Images, by John Hable
http://filmicworlds.com/blog/how-to-split-specular-and-diffuse-in-real-images/Capturing albedo using a Spectralon
https://www.activision.com/cdn/research/Real_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdfReal_World_Measurements_for_Call_of_Duty_Advanced_Warfare.pdf
Spectralon is a teflon-based pressed powderthat comes closest to being a pure Lambertian diffuse material that reflects 100% of all light. If we take an HDR photograph of the Spectralon alongside the material to be measured, we can derive thediffuse albedo of that material.
The process to capture diffuse reflectance is very similar to the one outlined by Hable.
1. We put a linear polarizing filter in front of the camera lens and a second linear polarizing filterin front of a modeling light or a flash such that the two filters are oriented perpendicular to eachother, i.e. cross polarized.
2. We place Spectralon close to and parallel with the material we are capturing and take brack-eted shots of the setup7. Typically, we’ll take nine photographs, from -4EV to +4EV in 1EVincrements.
3. We convert the bracketed shots to a linear HDR image. We found that many HDR packagesdo not produce an HDR image in which the pixel values are linear. PTGui is an example of apackage which does generate a linear HDR image. At this point, because of the cross polarization,the image is one of surface diffuse response.
4. We open the file in Photoshop and normalize the image by color picking the Spectralon, filling anew layer with that color and setting that layer to “Divide”. This sets the Spectralon to 1 in theimage. All other color values are relative to this so we can consider them as diffuse albedo.
-
Willem Zwarthoed – Aces gamut in VFX production pdf
Read more: Willem Zwarthoed – Aces gamut in VFX production pdfhttps://www.provideocoalition.com/color-management-part-12-introducing-aces/
Local copy:
https://www.slideshare.net/hpduiker/acescg-a-common-color-encoding-for-visual-effects-applications
-
StudioBinder.com – CRI color rendering index
Read more: StudioBinder.com – CRI color rendering indexwww.studiobinder.com/blog/what-is-color-rendering-index
“The Color Rendering Index is a measurement of how faithfully a light source reveals the colors of whatever it illuminates, it describes the ability of a light source to reveal the color of an object, as compared to the color a natural light source would provide. The highest possible CRI is 100. A CRI of 100 generally refers to a perfect black body, like a tungsten light source or the sun. ”
www.pixelsham.com/2021/04/28/types-of-film-lights-and-their-efficiency
LIGHTING
-
9 Best Hacks to Make a Cinematic Video with Any Camera
Read more: 9 Best Hacks to Make a Cinematic Video with Any Camerahttps://www.flexclip.com/learn/cinematic-video.html
- Frame Your Shots to Create Depth
- Create Shallow Depth of Field
- Avoid Shaky Footage and Use Flexible Camera Movements
- Properly Use Slow Motion
- Use Cinematic Lighting Techniques
- Apply Color Grading
- Use Cinematic Music and SFX
- Add Cinematic Fonts and Text Effects
- Create the Cinematic Bar at the Top and the Bottom
-
Convert between light exposure and intensity
Read more: Convert between light exposure and intensityimport math,sys def Exposure2Intensity(exposure): exp = float(exposure) result = math.pow(2,exp) print(result) Exposure2Intensity(0) def Intensity2Exposure(intensity): inarg = float(intensity) if inarg == 0: print("Exposure of zero intensity is undefined.") return if inarg < 1e-323: inarg = max(inarg, 1e-323) print("Exposure of negative intensities is undefined. Clamping to a very small value instead (1e-323)") result = math.log(inarg, 2) print(result) Intensity2Exposure(0.1) -
Photography basics: Solid Angle measures
Read more: Photography basics: Solid Angle measureshttp://www.calculator.org/property.aspx?name=solid+angle
A measure of how large the object appears to an observer looking from that point. Thus. A measure for objects in the sky. Useful to retuen the size of the sun and moon… and in perspective, how much of their contribution to lighting. Solid angle can be represented in ‘angular diameter’ as well.
http://en.wikipedia.org/wiki/Solid_angle
http://www.mathsisfun.com/geometry/steradian.html
A solid angle is expressed in a dimensionless unit called a steradian (symbol: sr). By default in terms of the total celestial sphere and before atmospheric’s scattering, the Sun and the Moon subtend fractional areas of 0.000546% (Sun) and 0.000531% (Moon).
http://en.wikipedia.org/wiki/Solid_angle#Sun_and_Moon
On earth the sun is likely closer to 0.00011 solid angle after athmospheric scattering. The sun as perceived from earth has a diameter of 0.53 degrees. This is about 0.000064 solid angle.
http://www.numericana.com/answer/angles.htm
The mean angular diameter of the full moon is 2q = 0.52° (it varies with time around that average, by about 0.009°). This translates into a solid angle of 0.0000647 sr, which means that the whole night sky covers a solid angle roughly one hundred thousand times greater than the full moon.
More info
http://lcogt.net/spacebook/using-angles-describe-positions-and-apparent-sizes-objects
http://amazing-space.stsci.edu/glossary/def.php.s=topic_astronomy
Angular Size
The apparent size of an object as seen by an observer; expressed in units of degrees (of arc), arc minutes, or arc seconds. The moon, as viewed from the Earth, has an angular diameter of one-half a degree.
The angle covered by the diameter of the full moon is about 31 arcmin or 1/2°, so astronomers would say the Moon’s angular diameter is 31 arcmin, or the Moon subtends an angle of 31 arcmin.
-
Custom bokeh in a raytraced DOF render
Read more: Custom bokeh in a raytraced DOF render
To achieve a custom pinhole camera effect with a custom bokeh in Arnold Raytracer, you can follow these steps:
- Set the render camera with a focal length around 50 (or as needed)
- Set the F-Stop to a high value (e.g., 22).
- Set the focus distance as you require
- Turn on DOF
- Place a plane a few cm in front of the camera.
- Texture the plane with a transparent shape at the center of it. (Transmission with no specular roughness)
-
What is physically correct lighting all about?
Read more: What is physically correct lighting all about?http://gamedev.stackexchange.com/questions/60638/what-is-physically-correct-lighting-all-about
2012-08 Nathan Reed wrote:
Physically-based shading means leaving behind phenomenological models, like the Phong shading model, which are simply built to “look good” subjectively without being based on physics in any real way, and moving to lighting and shading models that are derived from the laws of physics and/or from actual measurements of the real world, and rigorously obey physical constraints such as energy conservation.
For example, in many older rendering systems, shading models included separate controls for specular highlights from point lights and reflection of the environment via a cubemap. You could create a shader with the specular and the reflection set to wildly different values, even though those are both instances of the same physical process. In addition, you could set the specular to any arbitrary brightness, even if it would cause the surface to reflect more energy than it actually received.
In a physically-based system, both the point light specular and the environment reflection would be controlled by the same parameter, and the system would be set up to automatically adjust the brightness of both the specular and diffuse components to maintain overall energy conservation. Moreover you would want to set the specular brightness to a realistic value for the material you’re trying to simulate, based on measurements.
Physically-based lighting or shading includes physically-based BRDFs, which are usually based on microfacet theory, and physically correct light transport, which is based on the rendering equation (although heavily approximated in the case of real-time games).
It also includes the necessary changes in the art process to make use of these features. Switching to a physically-based system can cause some upsets for artists. First of all it requires full HDR lighting with a realistic level of brightness for light sources, the sky, etc. and this can take some getting used to for the lighting artists. It also requires texture/material artists to do some things differently (particularly for specular), and they can be frustrated by the apparent loss of control (e.g. locking together the specular highlight and environment reflection as mentioned above; artists will complain about this). They will need some time and guidance to adapt to the physically-based system.
On the plus side, once artists have adapted and gained trust in the physically-based system, they usually end up liking it better, because there are fewer parameters overall (less work for them to tweak). Also, materials created in one lighting environment generally look fine in other lighting environments too. This is unlike more ad-hoc models, where a set of material parameters might look good during daytime, but it comes out ridiculously glowy at night, or something like that.
Here are some resources to look at for physically-based lighting in games:
SIGGRAPH 2013 Physically Based Shading Course, particularly the background talk by Naty Hoffman at the beginning. You can also check out the previous incarnations of this course for more resources.
Sébastien Lagarde, Adopting a physically-based shading model and Feeding a physically-based shading model
And of course, I would be remiss if I didn’t mention Physically-Based Rendering by Pharr and Humphreys, an amazing reference on this whole subject and well worth your time, although it focuses on offline rather than real-time rendering.
COLLECTIONS
| Featured AI
| Design And Composition
| Explore posts
POPULAR SEARCHES
unreal | pipeline | virtual production | free | learn | photoshop | 360 | macro | google | nvidia | resolution | open source | hdri | real-time | photography basics | nuke
FEATURED POSTS
Social Links
DISCLAIMER – Links and images on this website may be protected by the respective owners’ copyright. All data submitted by users through this site shall be treated as freely available to share.
