COLOR

  • Capturing textures albedo

    Building 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.pdf

    Real_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.

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  • Weta Digital – Manuka Raytracer and Gazebo GPU renderers – pipeline

    https://jo.dreggn.org/home/2018_manuka.pdf

     

    http://www.fxguide.com/featured/manuka-weta-digitals-new-renderer/

     

    The Manuka rendering architecture has been designed in the spirit of the classic reyes rendering architecture. In its core, reyes is based on stochastic rasterisation of micropolygons, facilitating depth of field, motion blur, high geometric complexity,and programmable shading.

     

    This is commonly achieved with Monte Carlo path tracing, using a paradigm often called shade-on-hit, in which the renderer alternates tracing rays with running shaders on the various ray hits. The shaders take the role of generating the inputs of the local material structure which is then used bypath sampling logic to evaluate contributions and to inform what further rays to cast through the scene.

     

    Over the years, however, the expectations have risen substantially when it comes to image quality. Computing pictures which are indistinguishable from real footage requires accurate simulation of light transport, which is most often performed using some variant of Monte Carlo path tracing. Unfortunately this paradigm requires random memory accesses to the whole scene and does not lend itself well to a rasterisation approach at all.

     

    Manuka is both a uni-directional and bidirectional path tracer and encompasses multiple importance sampling (MIS). Interestingly, and importantly for production character skin work, it is the first major production renderer to incorporate spectral MIS in the form of a new ‘Hero Spectral Sampling’ technique, which was recently published at Eurographics Symposium on Rendering 2014.

     

    Manuka propose a shade-before-hit paradigm in-stead and minimise I/O strain (and some memory costs) on the system, leveraging locality of reference by running pattern generation shaders before we execute light transport simulation by path sampling, “compressing” any bvh structure as needed, and as such also limiting duplication of source data.
    The difference with reyes is that instead of baking colors into the geometry like in Reyes, manuka bakes surface closures. This means that light transport is still calculated with path tracing, but all texture lookups etc. are done up-front and baked into the geometry.

     

    The main drawback with this method is that geometry has to be tessellated to its highest, stable topology before shading can be evaluated properly. As such, the high cost to first pixel. Even a basic 4 vertices square becomes a much more complex model with this approach.

     

     

    Manuka use the RenderMan Shading Language (rsl) for programmable shading [Pixar Animation Studios 2015], but we do not invoke rsl shaders when intersecting a ray with a surface (often called shade-on-hit). Instead, we pre-tessellate and pre-shade all the input geometry in the front end of the renderer.
    This way, we can efficiently order shading computations to sup-port near-optimal texture locality, vectorisation, and parallelism. This system avoids repeated evaluation of shaders at the same surface point, and presents a minimal amount of memory to be accessed during light transport time. An added benefit is that the acceleration structure for ray tracing (abounding volume hierarchy, bvh) is built once on the final tessellated geometry, which allows us to ray trace more efficiently than multi-level bvhs and avoids costly caching of on-demand tessellated micropolygons and the associated scheduling issues.

     

    For the shading reasons above, in terms of AOVs, the studio approach is to succeed at combining complex shading with ray paths in the render rather than pass a multi-pass render to compositing.

     

    For the Spectral Rendering component. The light transport stage is fully spectral, using a continuously sampled wavelength which is traced with each path and used to apply the spectral camera sensitivity of the sensor. This allows for faithfully support any degree of observer metamerism as the camera footage they are intended to match as well as complex materials which require wavelength dependent phenomena such as diffraction, dispersion, interference, iridescence, or chromatic extinction and Rayleigh scattering in participating media.

     

    As opposed to the original reyes paper, we use bilinear interpolation of these bsdf inputs later when evaluating bsdfs per pathv ertex during light transport4. This improves temporal stability of geometry which moves very slowly with respect to the pixel raster

     

    In terms of the pipeline, everything rendered at Weta was already completely interwoven with their deep data pipeline. Manuka very much was written with deep data in mind. Here, Manuka not so much extends the deep capabilities, rather it fully matches the already extremely complex and powerful setup Weta Digital already enjoy with RenderMan. For example, an ape in a scene can be selected, its ID is available and a NUKE artist can then paint in 3D say a hand and part of the way up the neutral posed ape.

     

    We called our system Manuka, as a respectful nod to reyes: we had heard a story froma former ILM employee about how reyes got its name from how fond the early Pixar people were of their lunches at Point Reyes, and decided to name our system after our surrounding natural environment, too. Manuka is a kind of tea tree very common in New Zealand which has very many very small leaves, in analogy to micropolygons ina tree structure for ray tracing. It also happens to be the case that Weta Digital’s main site is on Manuka Street.

     

     

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LIGHTING

  • Photography basics: Solid Angle measures

    http://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.

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  • HDRI Median Cut plugin

    www.hdrlabs.com/picturenaut/plugins.html

     

     

    Note. The Median Cut algorithm is typically used for color quantization, which involves reducing the number of colors in an image while preserving its visual quality. It doesn’t directly provide a way to identify the brightest areas in an image. However, if you’re interested in identifying the brightest areas, you might want to look into other methods like thresholding, histogram analysis, or edge detection, through openCV for example.

     

    Here is an openCV example:

     

    # bottom left coordinates = 0,0
    import numpy as np
    import cv2
    
    # Load the HDR or EXR image
    image = cv2.imread('your_image_path.exr', cv2.IMREAD_UNCHANGED)  # Load as-is without modification
    
    # Calculate the luminance from the HDR channels (assuming RGB format)
    luminance = np.dot(image[..., :3], [0.299, 0.587, 0.114])
    
    # Set a threshold value based on estimated EV
    threshold_value = 2.4  # Estimated threshold value based on 4.8 EV
    
    # Apply the threshold to identify bright areas
    # The luminance array contains the calculated luminance values for each pixel in the image. # The threshold_value is a user-defined value that represents a cutoff point, separating "bright" and "dark" areas in terms of perceived luminance.
    thresholded = (luminance > threshold_value) * 255 
    
    # Convert the thresholded image to uint8 for contour detection 
    thresholded = thresholded.astype(np.uint8) 
    
    # Find contours of the bright areas 
    contours, _ = cv2.findContours(thresholded, cv2.RETR_EXTERNAL, cv2.CHAIN_APPROX_SIMPLE) 
    
    # Create a list to store the bounding boxes of bright areas 
    bright_areas = [] 
    
    # Iterate through contours and extract bounding boxes for contour in contours: 
    x, y, w, h = cv2.boundingRect(contour) 
    
    # Adjust y-coordinate based on bottom-left origin 
    y_bottom_left_origin = image.shape[0] - (y + h) bright_areas.append((x, y_bottom_left_origin, x + w, y_bottom_left_origin + h)) 
    
    # Store as (x1, y1, x2, y2) 
    # Print the identified bright areas 
    print("Bright Areas (x1, y1, x2, y2):") for area in bright_areas: print(area)

     

    More details

     

    Luminance and Exposure in an EXR Image:

    • An EXR (Extended Dynamic Range) image format is often used to store high dynamic range (HDR) images that contain a wide range of luminance values, capturing both dark and bright areas.
    • Luminance refers to the perceived brightness of a pixel in an image. In an RGB image, luminance is often calculated using a weighted sum of the red, green, and blue channels, where different weights are assigned to each channel to account for human perception.
    • In an EXR image, the pixel values can represent radiometrically accurate scene values, including actual radiance or irradiance levels. These values are directly related to the amount of light emitted or reflected by objects in the scene.

     

    The luminance line is calculating the luminance of each pixel in the image using a weighted sum of the red, green, and blue channels. The three float values [0.299, 0.587, 0.114] are the weights used to perform this calculation.

     

    These weights are based on the concept of luminosity, which aims to approximate the perceived brightness of a color by taking into account the human eye’s sensitivity to different colors. The values are often derived from the NTSC (National Television System Committee) standard, which is used in various color image processing operations.

     

    Here’s the breakdown of the float values:

    • 0.299: Weight for the red channel.
    • 0.587: Weight for the green channel.
    • 0.114: Weight for the blue channel.

     

    The weighted sum of these channels helps create a grayscale image where the pixel values represent the perceived brightness. This technique is often used when converting a color image to grayscale or when calculating luminance for certain operations, as it takes into account the human eye’s sensitivity to different colors.

     

    For the threshold, remember that the exact relationship between EV values and pixel values can depend on the tone-mapping or normalization applied to the HDR image, as well as the dynamic range of the image itself.

     

    To establish a relationship between exposure and the threshold value, you can consider the relationship between linear and logarithmic scales:

    1. Linear and Logarithmic Scales:
      • Exposure values in an EXR image are often represented in logarithmic scales, such as EV (exposure value). Each increment in EV represents a doubling or halving of the amount of light captured.
      • Threshold values for luminance thresholding are usually linear, representing an actual luminance level.
    2. Conversion Between Scales:

      • To establish a mathematical relationship, you need to convert between the logarithmic exposure scale and the linear threshold scale.

      • One common method is to use a power function. For instance, you can use a power function to convert EV to a linear intensity value.



       

      threshold_value = base_value * (2 ** EV)



      Here, EV is the exposure value, base_value is a scaling factor that determines the relationship between EV and threshold_value, and 2 ** EV is used to convert the logarithmic EV to a linear intensity value.


    3. Choosing the Base Value:
      • The base_value factor should be determined based on the dynamic range of your EXR image and the specific luminance values you are dealing with.
      • You may need to experiment with different values of base_value to achieve the desired separation of bright areas from the rest of the image.

     

    Let’s say you have an EXR image with a dynamic range of 12 EV, which is a common range for many high dynamic range images. In this case, you want to set a threshold value that corresponds to a certain number of EV above the middle gray level (which is often considered to be around 0.18).

    Here’s an example of how you might determine a base_value to achieve this:

     

    # Define the dynamic range of the image in EV
    dynamic_range = 12
    
    # Choose the desired number of EV above middle gray for thresholding
    desired_ev_above_middle_gray = 2
    
    # Calculate the threshold value based on the desired EV above middle gray
    threshold_value = 0.18 * (2 ** (desired_ev_above_middle_gray / dynamic_range))
    
    print("Threshold Value:", threshold_value)
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  • IES Light Profiles and editing software

    http://www.derekjenson.com/3d-blog/ies-light-profiles

     

    https://ieslibrary.com/en/browse#ies

     

    https://leomoon.com/store/shaders/ies-lights-pack

     

    https://docs.arnoldrenderer.com/display/a5afmug/ai+photometric+light

     

    IES profiles are useful for creating life-like lighting, as they can represent the physical distribution of light from any light source.

    The IES format was created by the Illumination Engineering Society, and most lighting manufacturers provide IES profile for the lights they manufacture.

     

     

    Arnold file

     

    https://www.real-ies.com/

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