COMPOSITION
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SlowMoVideo – How to make a slow motion shot with the open source program
Read more: SlowMoVideo – How to make a slow motion shot with the open source programhttp://slowmovideo.granjow.net/
slowmoVideo is an OpenSource program that creates slow-motion videos from your footage.
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….
Film cameras are relatively simple mechanical devices that allow you to crank up the speed to whatever rate the shutter and pull-down mechanism allow. Some film cameras can operate at 2,500 fps or higher (although film shot in these cameras often needs some readjustment in postproduction). Video, on the other hand, is always captured, recorded, and played back at a fixed rate, with a current limit around 60fps. This makes extreme slow motion effects harder to achieve (and less elegant) on video, because slowing down the video results in each frame held still on the screen for a long time, whereas with high-frame-rate film there are plenty of frames to fill the longer durations of time. On video, the slow motion effect is more like a slide show than smooth, continuous motion.
One obvious solution is to shoot film at high speed, then transfer it to video (a case where film still has a clear advantage, sorry George). Another possibility is to cross dissolve or blur from one frame to the next. This adds a smooth transition from one still frame to the next. The blur reduces the sharpness of the image, and compared to slowing down images shot at a high frame rate, this is somewhat of a cheat. However, there isn’t much you can do about it until video can be recorded at much higher rates. Of course, many film cameras can’t shoot at high frame rates either, so the whole super-slow-motion endeavor is somewhat specialized no matter what medium you are using. (There are some high speed digital cameras available now that allow you to capture lots of digital frames directly to your computer, so technology is starting to catch up with film. However, this feature isn’t going to appear in consumer camcorders any time soon.)
DESIGN
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How to paint a boardgame miniatures
Read more: How to paint a boardgame miniatures
Steps:
- soap wash cleaning
- primer
- base-coat layer (black/white)
- detailing
- washing aka shade (could be done after highlighting)
- highlights aka dry brushing (could be done after washing)
- varnish (gloss/satin/matte)
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boldtron – 𝗗𝗘𝗣𝗜𝗖𝗧𝗜𝗡𝗚 𝗪𝗔𝗧𝗘𝗥𝗚𝗨𝗡𝗦
Read more: boldtron – 𝗗𝗘𝗣𝗜𝗖𝗧𝗜𝗡𝗚 𝗪𝗔𝗧𝗘𝗥𝗚𝗨𝗡𝗦See this Instagram post by @boldtron using ComfyUI + Krea
https://www.instagram.com/p/C5v-H0PNYYg/?utm_source=ig_web_button_share_sheet
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Realistic Avengers action figures
Read more: Realistic Avengers action figureshttp://kotaku.com/5911846/these-avengers-action-figures-look-so-real-youll-think-theyre-tiny-actors
http://www.sideshowtoy.com/?page_id=37555&ref=Avengers2012
http://www.sideshowtoy.com/?page_id=4489&sku=9017301&ref=ref=avengersLP_9017301#!prettyPhoto/0/
http://animagetoyznews.blogspot.co.nz/
COLOR
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The Color of Infinite Temperature
Read more: The Color of Infinite TemperatureThis is the color of something infinitely hot.
Of course you’d instantly be fried by gamma rays of arbitrarily high frequency, but this would be its spectrum in the visible range.
johncarlosbaez.wordpress.com/2022/01/16/the-color-of-infinite-temperature/
This is also the color of a typical neutron star. They’re so hot they look the same.
It’s also the color of the early Universe!This was worked out by David Madore.
The color he got is sRGB(148,177,255).
www.htmlcsscolor.com/hex/94B1FFAnd according to the experts who sip latte all day and make up names for colors, this color is called ‘Perano’.
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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
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Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminance
Read more: Photography basics: Lumens vs Candelas (candle) vs Lux vs FootCandle vs Watts vs Irradiance vs Illuminancehttps://www.translatorscafe.com/unit-converter/en-US/illumination/1-11/
The power output of a light source is measured using the unit of watts W. This is a direct measure to calculate how much power the light is going to drain from your socket and it is not relatable to the light brightness itself.
The amount of energy emitted from it per second. That energy comes out in a form of photons which we can crudely represent with rays of light coming out of the source. The higher the power the more rays emitted from the source in a unit of time.
Not all energy emitted is visible to the human eye, so we often rely on photometric measurements, which takes in account the sensitivity of human eye to different wavelenghts
Details in the post
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About color: What is a LUT
Read more: About color: What is a LUThttp://www.lightillusion.com/luts.html
https://www.shutterstock.com/blog/how-use-luts-color-grading
A LUT (Lookup Table) is essentially the modifier between two images, the original image and the displayed image, based on a mathematical formula. Basically conversion matrices of different complexities. There are different types of LUTS – viewing, transform, calibration, 1D and 3D.
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Is it possible to get a dark yellow
Read more: Is it possible to get a dark yellowhttps://www.patreon.com/posts/102660674
https://www.linkedin.com/posts/stephenwestland_here-is-a-post-about-the-dark-yellow-problem-activity-7187131643764092929-7uCL
LIGHTING
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GretagMacbeth Color Checker Numeric Values and Middle Gray
Read more: GretagMacbeth Color Checker Numeric Values and Middle GrayThe human eye perceives half scene brightness not as the linear 50% of the present energy (linear nature values) but as 18% of the overall brightness. We are biased to perceive more information in the dark and contrast areas. A Macbeth chart helps with calibrating back into a photographic capture into this “human perspective” of the world.
https://en.wikipedia.org/wiki/Middle_gray
In photography, painting, and other visual arts, middle gray or middle grey is a tone that is perceptually about halfway between black and white on a lightness scale in photography and printing, it is typically defined as 18% reflectance in visible light
Light meters, cameras, and pictures are often calibrated using an 18% gray card[4][5][6] or a color reference card such as a ColorChecker. On the assumption that 18% is similar to the average reflectance of a scene, a grey card can be used to estimate the required exposure of the film.
https://en.wikipedia.org/wiki/ColorChecker
The exposure meter in the camera does not know whether the subject itself is bright or not. It simply measures the amount of light that comes in, and makes a guess based on that. The camera will aim for 18% gray independently, meaning if you take a photo of an entirely white surface, and an entirely black surface you should get two identical images which both are gray (at least in theory). Thus enters the Macbeth chart.
<!–more–>
Note that Chroma Key Green is reasonably close to an 18% gray reflectance.
http://www.rags-int-inc.com/PhotoTechStuff/MacbethTarget/
No Camera Data 
https://upload.wikimedia.org/wikipedia/commons/b/b4/CIE1931xy_ColorChecker_SMIL.svg
RGB coordinates of the Macbeth ColorChecker
https://pdfs.semanticscholar.org/0e03/251ad1e6d3c3fb9cb0b1f9754351a959e065.pdf
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HDRI shooting and editing by Xuan Prada and Greg Zaal
Read more: HDRI shooting and editing by Xuan Prada and Greg Zaalwww.xuanprada.com/blog/2014/11/3/hdri-shooting
http://blog.gregzaal.com/2016/03/16/make-your-own-hdri/
http://blog.hdrihaven.com/how-to-create-high-quality-hdri/
Shooting checklist
- Full coverage of the scene (fish-eye shots)
- Backplates for look-development (including ground or floor)
- Macbeth chart for white balance
- Grey ball for lighting calibration
- Chrome ball for lighting orientation
- Basic scene measurements
- Material samples
- Individual HDR artificial lighting sources if required
Methodology
- Plant the tripod where the action happens, stabilise it and level it
- Set manual focus
- Set white balance
- Set ISO
- Set raw+jpg
- Set apperture
- Metering exposure
- Set neutral exposure
- Read histogram and adjust neutral exposure if necessary
- Shot slate (operator name, location, date, time, project code name, etc)
- Set auto bracketing
- Shot 5 to 7 exposures with 3 stops difference covering the whole environment
- Place the aromatic kit where the tripod was placed, and take 3 exposures. Keep half of the grey sphere hit by the sun and half in shade.
- Place the Macbeth chart 1m away from tripod on the floor and take 3 exposures
- Take backplates and ground/floor texture references
- Shoot reference materials
- Write down measurements of the scene, specially if you are shooting interiors.
- If shooting artificial lights take HDR samples of each individual lighting source.
Exposures starting point
- Day light sun visible ISO 100 F22
- Day light sun hidden ISO 100 F16
- Cloudy ISO 320 F16
- Sunrise/Sunset ISO 100 F11
- Interior well lit ISO 320 F16
- Interior ambient bright ISO 320 F10
- Interior bad light ISO 640 F10
- Interior ambient dark ISO 640 F8
- Low light situation ISO 640 F5
NOTE: The goal is to clean the initial individual brackets before or at merging time as much as possible.
This means:- keeping original shooting metadata
- de-fringing
- removing aberration (through camera lens data or automatically)
- at 32 bit
- in ACEScg (or ACES) wherever possible
Here are the tips for using the chromatic ball in VFX projects, written in English:
https://www.linkedin.com/posts/bellrodrigo_here-are-the-tips-for-using-the-chromatic-activity-7200950595438940160-AGBpTips for Using the Chromatic Ball in VFX Projects**
The chromatic ball is an invaluable tool in VFX work, helping to capture lighting and reflection data crucial for integrating CGI elements seamlessly. Here are some tips to maximize its effectiveness:
1. **Positioning**:
– Place the chromatic ball in the same lighting conditions as the main subject. Ensure it is visible in the camera frame but not obstructing the main action.
– Ideally, place the ball where the CGI elements will be integrated to match the lighting and reflections accurately.2. **Recording Reference Footage**:
– Capture reference footage of the chromatic ball at the beginning and end of each scene or lighting setup. This ensures you have consistent lighting data for the entire shoot.3. **Consistent Angles**:
– Use consistent camera angles and heights when recording the chromatic ball. This helps in comparing and matching lighting setups across different shots.4. **Combine with a Gray Ball**:
– Use a gray ball alongside the chromatic ball. The gray ball provides a neutral reference for exposure and color balance, complementing the chromatic ball’s reflection data.5. **Marking Positions**:
– Mark the position of the chromatic ball on the set to ensure consistency when shooting multiple takes or different camera angles.6. **Lighting Analysis**:
– Analyze the chromatic ball footage to understand the light sources, intensity, direction, and color temperature. This information is crucial for creating realistic CGI lighting and shadows.7. **Reflection Analysis**:
– Use the chromatic ball to capture the environment’s reflections. This helps in accurately reflecting the CGI elements within the same scene, making them blend seamlessly.8. **Use HDRI**:
– Capture High Dynamic Range Imagery (HDRI) of the chromatic ball. HDRI provides detailed lighting information and can be used to light CGI scenes with greater realism.9. **Communication with VFX Team**:
– Ensure that the VFX team is aware of the chromatic ball’s data and how it was captured. Clear communication ensures that the data is used effectively in post-production.10. **Post-Production Adjustments**:
– In post-production, use the chromatic ball data to adjust the CGI elements’ lighting and reflections. This ensures that the final output is visually cohesive and realistic. -
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.
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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)
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