COLOR

  • PTGui 13 beta adds control through a Patch Editor

    https://ptgui.com/beta.html

     

    Additions:

    • Patch Editor (PTGui Pro)
    • DNG output
    • Improved RAW / DNG handling
    • JPEG 2000 support
    • Performance improvements

     

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    Read more: PTGui 13 beta adds control through a Patch Editor
  • OLED vs QLED – What TV is better?

     

    Supported by LG, Philips, Panasonic and Sony sell the OLED system TVs.
    OLED stands for “organic light emitting diode.”
    It is a fundamentally different technology from LCD, the major type of TV today.
    OLED is “emissive,” meaning the pixels emit their own light.

     

    Samsung is branding its best TVs with a new acronym: “QLED”
    QLED (according to Samsung) stands for “quantum dot LED TV.”
    It is a variation of the common LED LCD, adding a quantum dot film to the LCD “sandwich.”
    QLED, like LCD, is, in its current form, “transmissive” and relies on an LED backlight.

     

    OLED is the only technology capable of absolute blacks and extremely bright whites on a per-pixel basis. LCD definitely can’t do that, and even the vaunted, beloved, dearly departed plasma couldn’t do absolute blacks.

    QLED, as an improvement over OLED, significantly improves the picture quality. QLED can produce an even wider range of colors than OLED, which says something about this new tech. QLED is also known to produce up to 40% higher luminance efficiency than OLED technology. Further, many tests conclude that QLED is far more efficient in terms of power consumption than its predecessor, OLED.

     

    When analyzing TVs color, it may be beneficial to consider at least 3 elements:
    “Color Depth”, “Color Gamut”, and “Dynamic Range”.

     

    Color Depth (or “Bit-Depth”, e.g. 8-bit, 10-bit, 12-bit) determines how many distinct color variations (tones/shades) can be viewed on a given display.

     

    Color Gamut (e.g. WCG) determines which specific colors can be displayed from a given “Color Space” (Rec.709, Rec.2020, DCI-P3) (i.e. the color range).

     

    Dynamic Range (SDR, HDR) determines the luminosity range of a specific color – from its darkest shade (or tone) to its brightest.

     

    The overall brightness range of a color will be determined by a display’s “contrast ratio”, that is, the ratio of luminance between the darkest black that can be produced and the brightest white.

     

    Color Volume is the “Color Gamut” + the “Dynamic/Luminosity Range”.
    A TV’s Color Volume will not only determine which specific colors can be displayed (the color range) but also that color’s luminosity range, which will have an affect on its “brightness”, and “colorfulness” (intensity and saturation).

     

    The better the colour volume in a TV, the closer to life the colours appear.

     

    QLED TV can express nearly all of the colours in the DCI-P3 colour space, and of those colours, express 100% of the colour volume, thereby producing an incredible range of colours.

     

    With OLED TV, when the image is too bright, the percentage of the colours in the colour volume produced by the TV drops significantly. The colours get washed out and can only express around 70% colour volume, making the picture quality drop too.

     

    Note. OLED TV uses organic material, so it may lose colour expression as it ages.

     

    Resources for more reading and comparison below

    www.avsforum.com/forum/166-lcd-flat-panel-displays/2812161-what-color-volume.html

     

    www.newtechnologytv.com/qled-vs-oled/

     

    news.samsung.com/za/qled-tv-vs-oled-tv

     

    www.cnet.com/news/qled-vs-oled-samsungs-tv-tech-and-lgs-tv-tech-are-not-the-same/

     

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    Read more: OLED vs QLED – What TV is better?
  • Photography basics: Why Use a (MacBeth) Color Chart?

    Start here: https://www.pixelsham.com/2013/05/09/gretagmacbeth-color-checker-numeric-values/

     

    https://www.studiobinder.com/blog/what-is-a-color-checker-tool/

     

     

     

     

    In LightRoom

     

    in Final Cut

     

    in Nuke

    Note: In Foundry’s Nuke, the software will map 18% gray to whatever your center f/stop is set to in the viewer settings (f/8 by default… change that to EV by following the instructions below).
    You can experiment with this by attaching an Exposure node to a Constant set to 0.18, setting your viewer read-out to Spotmeter, and adjusting the stops in the node up and down. You will see that a full stop up or down will give you the respective next value on the aperture scale (f8, f11, f16 etc.).

    One stop doubles or halves the amount or light that hits the filmback/ccd, so everything works in powers of 2.
    So starting with 0.18 in your constant, you will see that raising it by a stop will give you .36 as a floating point number (in linear space), while your f/stop will be f/11 and so on.

     

    If you set your center stop to 0 (see below) you will get a relative readout in EVs, where EV 0 again equals 18% constant gray.

     

    In other words. Setting the center f-stop to 0 means that in a neutral plate, the middle gray in the macbeth chart will equal to exposure value 0. EV 0 corresponds to an exposure time of 1 sec and an aperture of f/1.0.

     

    This will set the sun usually around EV12-17 and the sky EV1-4 , depending on cloud coverage.

     

    To switch Foundry’s Nuke’s SpotMeter to return the EV of an image, click on the main viewport, and then press s, this opens the viewer’s properties. Now set the center f-stop to 0 in there. And the SpotMeter in the viewport will change from aperture and fstops to EV.

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    Read more: Photography basics: Why Use a (MacBeth) Color Chart?
  • 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)

     

    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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    Read more: Polarised vs unpolarized filtering

LIGHTING

  • 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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    Read more: HDRI Median Cut plugin
  • Black Body color aka the Planckian Locus curve for white point eye perception

    http://en.wikipedia.org/wiki/Black-body_radiation

     

    Black-body radiation is the type of electromagnetic radiation within or surrounding a body in thermodynamic equilibrium with its environment, or emitted by a black body (an opaque and non-reflective body) held at constant, uniform temperature. The radiation has a specific spectrum and intensity that depends only on the temperature of the body.

     

    A black-body at room temperature appears black, as most of the energy it radiates is infra-red and cannot be perceived by the human eye. At higher temperatures, black bodies glow with increasing intensity and colors that range from dull red to blindingly brilliant blue-white as the temperature increases.

    The Black Body Ultraviolet Catastrophe Experiment

     

    In photography, color temperature describes the spectrum of light which is radiated from a “blackbody” with that surface temperature. A blackbody is an object which absorbs all incident light — neither reflecting it nor allowing it to pass through.

     

    The Sun closely approximates a black-body radiator. Another rough analogue of blackbody radiation in our day to day experience might be in heating a metal or stone: these are said to become “red hot” when they attain one temperature, and then “white hot” for even higher temperatures. Similarly, black bodies at different temperatures also have varying color temperatures of “white light.”

     

    Despite its name, light which may appear white does not necessarily contain an even distribution of colors across the visible spectrum.

     

    Although planets and stars are neither in thermal equilibrium with their surroundings nor perfect black bodies, black-body radiation is used as a first approximation for the energy they emit. Black holes are near-perfect black bodies, and it is believed that they emit black-body radiation (called Hawking radiation), with a temperature that depends on the mass of the hole.

     

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    Read more: Black Body color aka the Planckian Locus curve for white point eye perception
  • Composition – cinematography Cheat Sheet

    https://moodle.gllm.ac.uk/pluginfile.php/190622/mod_resource/content/1/Cinematography%20Cheat%20Sheet.pdf

    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 main

    Circle.
    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.

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    Read more: Composition – cinematography Cheat Sheet

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