COMPOSITION
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Composition – These are the basic lighting techniques you need to know for photography and film
Read more: Composition – These are the basic lighting techniques you need to know for photography and film
http://www.diyphotography.net/basic-lighting-techniques-need-know-photography-film/
Amongst the basic techniques, there’s…
1- Side lighting – Literally how it sounds, lighting a subject from the side when they’re faced toward you
2- Rembrandt lighting – Here the light is at around 45 degrees over from the front of the subject, raised and pointing down at 45 degrees
3- Back lighting – Again, how it sounds, lighting a subject from behind. This can help to add drama with silouettes
4- Rim lighting – This produces a light glowing outline around your subject
5- Key light – The main light source, and it’s not necessarily always the brightest light source
6- Fill light – This is used to fill in the shadows and provide detail that would otherwise be blackness
7- Cross lighting – Using two lights placed opposite from each other to light two subjects
DESIGN
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Principles of Interior Design – Balance
Read more: Principles of Interior Design – Balancehttps://www.yankodesign.com/2024/09/18/principles-of-interior-design-balance
The three types of balance include:
- Symmetrical Balance
- Asymmetrical Balance
- Radial Balance
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James Gerde – The way the leaves dance in the rain
Read more: James Gerde – The way the leaves dance in the rainhttps://www.instagram.com/gerdegotit/reel/C6s-2r2RgSu/
Since spending a lot of time recently with SDXL I’ve since made my way back to SD 1.5
While the models overall have less fidelity. There is just no comparing to the current motion models we have available for animatediff with 1.5 models.
To date this is one of my favorite pieces. Not because I think it’s even the best it can be. But because the workflow adjustments unlocked some very important ideas I can’t wait to try out.
Performance by @silkenkelly and @itxtheballerina on IG
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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3D Lighting Tutorial by Amaan Kram
Read more: 3D Lighting Tutorial by Amaan Kramhttp://www.amaanakram.com/lightingT/part1.htm
The goals of lighting in 3D computer graphics are more or less the same as those of real world lighting.
Lighting serves a basic function of bringing out, or pushing back the shapes of objects visible from the camera’s view.
It gives a two-dimensional image on the monitor an illusion of the third dimension-depth.But it does not just stop there. It gives an image its personality, its character. A scene lit in different ways can give a feeling of happiness, of sorrow, of fear etc., and it can do so in dramatic or subtle ways. Along with personality and character, lighting fills a scene with emotion that is directly transmitted to the viewer.
Trying to simulate a real environment in an artificial one can be a daunting task. But even if you make your 3D rendering look absolutely photo-realistic, it doesn’t guarantee that the image carries enough emotion to elicit a “wow” from the people viewing it.
Making 3D renderings photo-realistic can be hard. Putting deep emotions in them can be even harder. However, if you plan out your lighting strategy for the mood and emotion that you want your rendering to express, you make the process easier for yourself.
Each light source can be broken down in to 4 distinct components and analyzed accordingly.
· Intensity
· Direction
· Color
· SizeThe overall thrust of this writing is to produce photo-realistic images by applying good lighting techniques.
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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
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What light is best to illuminate gems for resale
Read more: What light is best to illuminate gems for resalewww.palagems.com/gem-lighting2
Artificial light sources, not unlike the diverse phases of natural light, vary considerably in their properties. As a result, some lamps render an object’s color better than others do.
The most important criterion for assessing the color-rendering ability of any lamp is its spectral power distribution curve.
Natural daylight varies too much in strength and spectral composition to be taken seriously as a lighting standard for grading and dealing colored stones. For anything to be a standard, it must be constant in its properties, which natural light is not.
For dealers in particular to make the transition from natural light to an artificial light source, that source must offer:
1- A degree of illuminance at least as strong as the common phases of natural daylight.
2- Spectral properties identical or comparable to a phase of natural daylight.A source combining these two things makes gems appear much the same as when viewed under a given phase of natural light. From the viewpoint of many dealers, this corresponds to a naturalappearance.
The 6000° Kelvin xenon short-arc lamp appears closest to meeting the criteria for a standard light source. Besides the strong illuminance this lamp affords, its spectrum is very similar to CIE standard illuminants of similar color temperature.
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Björn Ottosson – OKlch color space
Read more: Björn Ottosson – OKlch color spaceBjörn Ottosson proposed OKlch in 2020 to create a color space that can closely mimic how color is perceived by the human eye, predicting perceived lightness, chroma, and hue.
The OK in OKLCH stands for Optimal Color.
- L: Lightness (the perceived brightness of the color)
- C: Chroma (the intensity or saturation of the color)
- H: Hue (the actual color, such as red, blue, green, etc.)
Also read:
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What causes color
Read more: What causes colorwww.webexhibits.org/causesofcolor/5.html
Water itself has an intrinsic blue color that is a result of its molecular structure and its behavior.
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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.
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No one could see the colour blue until modern times
Read more: No one could see the colour blue until modern timeshttps://www.businessinsider.com/what-is-blue-and-how-do-we-see-color-2015-2
The way that humans see the world… until we have a way to describe something, even something so fundamental as a colour, we may not even notice that something it’s there.
Ancient languages didn’t have a word for blue — not Greek, not Chinese, not Japanese, not Hebrew, not Icelandic cultures. And without a word for the colour, there’s evidence that they may not have seen it at all.
https://www.wnycstudios.org/story/211119-colors
Every language first had a word for black and for white, or dark and light. The next word for a colour to come into existence — in every language studied around the world — was red, the colour of blood and wine.
After red, historically, yellow appears, and later, green (though in a couple of languages, yellow and green switch places). The last of these colours to appear in every language is blue.
The only ancient culture to develop a word for blue was the Egyptians — and as it happens, they were also the only culture that had a way to produce a blue dye.
https://mymodernmet.com/shades-of-blue-color-history/
Considered to be the first ever synthetically produced color pigment, Egyptian blue (also known as cuprorivaite) was created around 2,200 B.C. It was made from ground limestone mixed with sand and a copper-containing mineral, such as azurite or malachite, which was then heated between 1470 and 1650°F. The result was an opaque blue glass which then had to be crushed and combined with thickening agents such as egg whites to create a long-lasting paint or glaze.
If you think about it, blue doesn’t appear much in nature — there aren’t animals with blue pigments (except for one butterfly, Obrina Olivewing, all animals generate blue through light scattering), blue eyes are rare (also blue through light scattering), and blue flowers are mostly human creations. There is, of course, the sky, but is that really blue?
So before we had a word for it, did people not naturally see blue? Do you really see something if you don’t have a word for it?
A researcher named Jules Davidoff traveled to Namibia to investigate this, where he conducted an experiment with the Himba tribe, who speak a language that has no word for blue or distinction between blue and green. When shown a circle with 11 green squares and one blue, they couldn’t pick out which one was different from the others.
When looking at a circle of green squares with only one slightly different shade, they could immediately spot the different one. Can you?
Davidoff says that without a word for a colour, without a way of identifying it as different, it’s much harder for us to notice what’s unique about it — even though our eyes are physically seeing the blocks it in the same way.
Further research brought to wider discussions about color perception in humans. Everything that we make is based on the fact that humans are trichromatic. The television only has 3 colors. Our color printers have 3 different colors. But some people, and in specific some women seemed to be more sensible to color differences… mainly because they’re just more aware or – because of the job that they do.
Eventually this brought to the discovery of a small percentage of the population, referred to as tetrachromats, which developed an extra cone sensitivity to yellow, likely due to gene modifications.
The interesting detail about these is that even between tetrachromats, only the ones that had a reason to develop, label and work with extra color sensitivity actually developed the ability to use their native skills.
So before blue became a common concept, maybe humans saw it. But it seems they didn’t know they were seeing it.
If you see something yet can’t see it, does it exist? Did colours come into existence over time? Not technically, but our ability to notice them… may have…
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.
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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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Terminators and Iron Men: HDRI, Image-based lighting and physical shading at ILM – Siggraph 2010
Read more: Terminators and Iron Men: HDRI, Image-based lighting and physical shading at ILM – Siggraph 2010 -
domeble – Hi-Resolution CGI Backplates and 360° HDRI
Read more: domeble – Hi-Resolution CGI Backplates and 360° HDRIWhen collecting hdri make sure the data supports basic metadata, such as:
- Iso
- Aperture
- Exposure time or shutter time
- Color temperature
- Color space Exposure value (what the sensor receives of the sun intensity in lux)
- 7+ brackets (with 5 or 6 being the perceived balanced exposure)
In image processing, computer graphics, and photography, high dynamic range imaging (HDRI or just HDR) is a set of techniques that allow a greater dynamic range of luminances (a Photometry measure of the luminous intensity per unit area of light travelling in a given direction. It describes the amount of light that passes through or is emitted from a particular area, and falls within a given solid angle) between the lightest and darkest areas of an image than standard digital imaging techniques or photographic methods. This wider dynamic range allows HDR images to represent more accurately the wide range of intensity levels found in real scenes ranging from direct sunlight to faint starlight and to the deepest shadows.
The two main sources of HDR imagery are computer renderings and merging of multiple photographs, which in turn are known as low dynamic range (LDR) or standard dynamic range (SDR) images. Tone Mapping (Look-up) techniques, which reduce overall contrast to facilitate display of HDR images on devices with lower dynamic range, can be applied to produce images with preserved or exaggerated local contrast for artistic effect. Photography
In photography, dynamic range is measured in Exposure Values (in photography, exposure value denotes all combinations of camera shutter speed and relative aperture that give the same exposure. The concept was developed in Germany in the 1950s) differences or stops, between the brightest and darkest parts of the image that show detail. An increase of one EV or one stop is a doubling of the amount of light.
The human response to brightness is well approximated by a Steven’s power law, which over a reasonable range is close to logarithmic, as described by the Weber�Fechner law, which is one reason that logarithmic measures of light intensity are often used as well.
HDR is short for High Dynamic Range. It’s a term used to describe an image which contains a greater exposure range than the “black” to “white” that 8 or 16-bit integer formats (JPEG, TIFF, PNG) can describe. Whereas these Low Dynamic Range images (LDR) can hold perhaps 8 to 10 f-stops of image information, HDR images can describe beyond 30 stops and stored in 32 bit images.
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How are Energy and Matter the Same?
Read more: How are Energy and Matter the Same?www.turnerpublishing.com/blog/detail/everything-is-energy-everything-is-one-everything-is-possible/
www.universetoday.com/116615/how-are-energy-and-matter-the-same/
As Einstein showed us, light and matter and just aspects of the same thing. Matter is just frozen light. And light is matter on the move. Albert Einstein’s most famous equation says that energy and matter are two sides of the same coin. How does one become the other?
Relativity requires that the faster an object moves, the more mass it appears to have. This means that somehow part of the energy of the car’s motion appears to transform into mass. Hence the origin of Einstein’s equation. How does that happen? We don’t really know. We only know that it does.
Matter is 99.999999999999 percent empty space. Not only do the atom and solid matter consist mainly of empty space, it is the same in outer space
The quantum theory researchers discovered the answer: Not only do particles consist of energy, but so does the space between. This is the so-called zero-point energy. Therefore it is true: Everything consists of energy.
Energy is the basis of material reality. Every type of particle is conceived of as a quantum vibration in a field: Electrons are vibrations in electron fields, protons vibrate in a proton field, and so on. Everything is energy, and everything is connected to everything else through fields.
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Rec-2020 – TVs new color gamut standard used by Dolby Vision?
Read more: Rec-2020 – TVs new color gamut standard used by Dolby Vision?https://www.hdrsoft.com/resources/dri.html#bit-depth
The dynamic range is a ratio between the maximum and minimum values of a physical measurement. Its definition depends on what the dynamic range refers to.
For a scene: Dynamic range is the ratio between the brightest and darkest parts of the scene.
For a camera: Dynamic range is the ratio of saturation to noise. More specifically, the ratio of the intensity that just saturates the camera to the intensity that just lifts the camera response one standard deviation above camera noise.
For a display: Dynamic range is the ratio between the maximum and minimum intensities emitted from the screen.
The Dynamic Range of real-world scenes can be quite high — ratios of 100,000:1 are common in the natural world. An HDR (High Dynamic Range) image stores pixel values that span the whole tonal range of real-world scenes. Therefore, an HDR image is encoded in a format that allows the largest range of values, e.g. floating-point values stored with 32 bits per color channel. Another characteristics of an HDR image is that it stores linear values. This means that the value of a pixel from an HDR image is proportional to the amount of light measured by the camera.
For TVs HDR is great, but it’s not the only new TV feature worth discussing.
Wide color gamut, or WCG, is often lumped in with HDR. While they’re often found together, they’re not intrinsically linked. Where HDR is an increase in the dynamic range of the picture (with contrast and brighter highlights in particular), a TV’s wide color gamut coverage refers to how much of the new, larger color gamuts a TV can display.
Wide color gamuts only really matter for HDR video sources like UHD Blu-rays and some streaming video, as only HDR sources are meant to take advantage of the ability to display more colors.
www.cnet.com/how-to/what-is-wide-color-gamut-wcg/
Color depth is only one aspect of color representation, expressing the precision with which the amount of each primary can be expressed through a pixel; the other aspect is how broad a range of colors can be expressed (the gamut)
Image rendering bit depth
Wide color gamuts include a greater number of colors than what most current TVs can display, so the greater a TV’s coverage of a wide color gamut, the more colors a TV will be able to reproduce.
When we talk about a color space or color gamut we refer to the range of color values stored in an image. The perception of these color also requires a display that has been tuned with to resolve these color profiles at best. This is often referred to as a ‘viewer lut’.
So this comes also usually paired with an increase in bit depth, going from the old 8 bit system (256 shades per color, with the potential of over 16.7 million colors: 256 green x 256 blue x 256 red) to 10 (1024+ shades per color, with access to over a billion colors) or higher bits, like 12 bit (4096 shades per RGB for 68 billion colors).
The advantage of higher bit depth is in the ability to bias color with the minimum loss.
For an extreme example, raising the brightness from a completely dark image allows for better reproduction, independently on the reproduction medium, due to the amount of data available at editing time:
For reference, 8-bit images (i.e. 24 bits per pixel for a color image) are considered Low Dynamic Range.
They can store around 5 stops of light and each pixel carry a value from 0 (black) to 255 (white).
As a comparison, DSLR cameras can capture ~12-15 stops of light and they use RAW files to store the information.
https://www.cambridgeincolour.com/tutorials/dynamic-range.htm
https://www.hdrsoft.com/resources/dri.html#bit-depth
Note that the number of bits itself may be a misleading indication of the real dynamic range that the image reproduces — converting a Low Dynamic Range image to a higher bit depth does not change its dynamic range, of course.
- 8-bit images (i.e. 24 bits per pixel for a color image) are considered Low Dynamic Range.
- 16-bit images (i.e. 48 bits per pixel for a color image) resulting from RAW conversion are still considered Low Dynamic Range, even though the range of values they can encode is significantly higher than for 8-bit images (65536 versus 256). Note that converting a RAW file involves applying a tonal curve that compresses the dynamic range of the RAW data so that the converted image shows correctly on low dynamic range monitors. The need to adapt the output image file to the dynamic range of the display is the factor that dictates how much the dynamic range is compressed, not the output bit-depth. By using 16 instead of 8 bits, you will gain precision but you will not gain dynamic range.
- 32-bit images (i.e. 96 bits per pixel for a color image) are considered High Dynamic Range.Unlike 8- and 16-bit images which can take a finite number of values, 32-bit images are coded using floating point numbers, which means the values they can take is unlimited.It is important to note, though, that storing an image in a 32-bit HDR format is a necessary condition for an HDR image but not a sufficient one. When an image comes from a single capture with a standard camera, it will remain a Low Dynamic Range image,
Also note that bit depth and dynamic range are often confused as one, but are indeed separate concepts and there is no direct one to one relationship between them. Bit depth is about capacity, dynamic range is about the actual ratio of data stored.
The bit depth of a capturing or displaying device gives you an indication of its dynamic range capacity. That is, the highest dynamic range that the device would be capable of reproducing if all other constraints are eliminated.https://rawpedia.rawtherapee.com/Bit_Depth
Finally, note that there are two ways to “count” bits for an image — either the number of bits per color channel (BPC) or the number of bits per pixel (BPP). A bit (0,1) is the smallest unit of data stored in a computer.
For a grayscale image, 8-bit means that each pixel can be one of 256 levels of gray (256 is 2 to the power 8).
For an RGB color image, 8-bit means that each one of the three color channels can be one of 256 levels of color.
Since each pixel is represented by 3 colors in this case, 8-bit per color channel actually means 24-bit per pixel.Similarly, 16-bit for an RGB image means 65,536 levels per color channel and 48-bit per pixel.
To complicate matters, when an image is classified as 16-bit, it just means that it can store a maximum 65,535 values. It does not necessarily mean that it actually spans that range. If the camera sensors can not capture more than 12 bits of tonal values, the actual bit depth of the image will be at best 12-bit and probably less because of noise.
The following table attempts to summarize the above for the case of an RGB color image.
Type of digital support Bit depth per color channel Bit depth per pixel FStops Theoretical maximum Dynamic Range Reality 8-bit 8 24 8 256:1 most consumer images 12-bit CCD 12 36 12 4,096:1 real maximum limited by noise 14-bit CCD 14 42 14 16,384:1 real maximum limited by noise 16-bit TIFF (integer) 16 48 16 65,536:1 bit-depth in this case is not directly related to the dynamic range captured 16-bit float EXR 16 48 30 65,536:1 values are distributed more closely in the (lower) darker tones than in the (higher) lighter ones, thus allowing for a more accurate description of the tones more significant to humans. The range of normalized 16-bit floats can represent thirty stops of information with 1024 steps per stop. We have eighteen and a half stops over middle gray, and eleven and a half below. The denormalized numbers provide an additional ten stops with decreasing precision per stop.
http://download.nvidia.com/developer/GPU_Gems/CD_Image/Image_Processing/OpenEXR/OpenEXR-1.0.6/doc/#recsHDR image (e.g. Radiance format) 32 96 “infinite” 4.3 billion:1 real maximum limited by the captured dynamic range 32-bit floats are often called “single-precision” floats, and 64-bit floats are often called “double-precision” floats. 16-bit floats therefore are called “half-precision” floats, or just “half floats”.
https://petapixel.com/2018/09/19/8-12-14-vs-16-bit-depth-what-do-you-really-need
On a separate note, even Photoshop does not handle 16bit per channel. Photoshop does actually use 16-bits per channel. However, it treats the 16th digit differently – it is simply added to the value created from the first 15-digits. This is sometimes called 15+1 bits. This means that instead of 216 possible values (which would be 65,536 possible values) there are only 215+1 possible values (which is 32,768 +1 = 32,769 possible values).
Rec-601 (for the older SDTV format, very similar to rec-709) and Rec-709 (the HDTV’s recommended set of color standards, at times also referred to sRGB, although not exactly the same) are currently the most spread color formats and hardware configurations in the world.
Following those you can find the larger P3 gamut, more commonly used in theaters and in digital production houses (with small variations and improvements to color coverage), as well as most of best 4K/WCG TVs.
And a new standard is now promoted against P3, referred to Rec-2020 and UHDTV.
It is still debatable if this is going to be adopted at consumer level beyond the P3, mainly due to lack of hardware supporting it. But initial tests do prove that it would be a future proof investment.
www.colour-science.org/anders-langlands/
Rec. 2020 is ultimately designed for television, and not cinema. Therefore, it is to be expected that its properties must behave according to current signal processing standards. In this respect, its foundation is based on current HD and SD video signal characteristics.
As far as color bit depth is concerned, it allows for a maximum of 12 bits, which is more than enough for humans.
Comparing standards, REC-709 covers 35.9% of the human visible spectrum. P3 45.5%. And REC-2020 75.8%.
https://www.avsforum.com/forum/166-lcd-flat-panel-displays/2812161-what-color-volume.htmlComparing coverage to hardware devices
To note that all the new standards generally score very high on the Pointer’s Gamut chart. But with REC-2020 scoring 99.9% vs P3 at 88.2%.
www.tftcentral.co.uk/articles/pointers_gamut.htmhttps://www.slideshare.net/hpduiker/acescg-a-common-color-encoding-for-visual-effects-applications
The Pointer’s gamut is (an approximation of) the gamut of real surface colors as can be seen by the human eye, based on the research by Michael R. Pointer (1980). What this means is that every color that can be reflected by the surface of an object of any material is inside the Pointer’s gamut. Basically establishing a widely respected target for color reproduction. Visually, Pointers Gamut represents the colors we see about us in the natural world. Colors outside Pointers Gamut include those that do not occur naturally, such as neon lights and computer-generated colors possible in animation. Which would partially be accounted for with the new gamuts.
cinepedia.com/picture/color-gamut/
Not all current TVs can support the full spread of the new gamuts. Here is a list of modern TVs’ color coverage in percentage:
www.rtings.com/tv/tests/picture-quality/wide-color-gamut-rec-709-dci-p3-rec-2020There are no TVs that can come close to displaying all the colors within Rec.2020, and there likely won’t be for at least a few years. However, to help future-proof the technology, Rec.2020 support is already baked into the HDR spec. That means that the same genuine HDR media that fills the DCI P3 space on a compatible TV now, will in a few years also fill Rec.2020 on a TV supporting that larger space.
Rec.2020’s main gains are in the number of new tones of green that it will display, though it also offers improvements to the number of blue and red colors as well. Altogether, Rec.2020 will cover about 75% of the visual spectrum, which is a sizeable increase in coverage even over DCI P3.
Dolby Vision
https://www.highdefdigest.com/news/show/what-is-dolby-vision/39049
https://www.techhive.com/article/3237232/dolby-vision-vs-hdr10-which-is-best.html
Dolby Vision is a proprietary end-to-end High Dynamic Range (HDR) format that covers content creation and playback through select cinemas, Ultra HD displays, and 4K titles. Like other HDR standards, the process uses expanded brightness to improve contrast between dark and light aspects of an image, bringing out deeper black levels and more realistic details in specular highlights — like the sun reflecting off of an ocean — in specially graded Dolby Vision material.
The iPhone 12 Pro gets the ability to record 4K 10-bit HDR video. According to Apple, it is the very first smartphone that is capable of capturing Dolby Vision HDR.
The iPhone 12 Pro takes two separate exposures and runs them through Apple’s custom image signal processor to create a histogram, which is a graph of the tonal values in each frame. The Dolby Vision metadata is then generated based on that histogram. In Laymen’s terms, it is essentially doing real-time grading while you are shooting. This is only possible due to the A14 Bionic chip.
Dolby Vision also allows for 12-bit color, as opposed to HDR10’s and HDR10+’s 10-bit color. While no retail TV we’re aware of supports 12-bit color, Dolby claims it can be down-sampled in such a way as to render 10-bit color more accurately.
Resources for more reading:
https://www.avsforum.com/forum/166-lcd-flat-panel-displays/2812161-what-color-volume.html
wolfcrow.com/say-hello-to-rec-2020-the-color-space-of-the-future/
www.cnet.com/news/ultra-hd-tv-color-part-ii-the-future/
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Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?
Read more: Is a MacBeth Colour Rendition Chart the Safest Way to Calibrate a Camera?www.colour-science.org/posts/the-colorchecker-considered-mostly-harmless/
“Unless you have all the relevant spectral measurements, a colour rendition chart should not be used to perform colour-correction of camera imagery but only for white balancing and relative exposure adjustments.”
“Using a colour rendition chart for colour-correction might dramatically increase error if the scene light source spectrum is different from the illuminant used to compute the colour rendition chart’s reference values.”
“other factors make using a colour rendition chart unsuitable for camera calibration:
– Uncontrolled geometry of the colour rendition chart with the incident illumination and the camera.
– Unknown sample reflectances and ageing as the colour of the samples vary with time.
– Low samples count.
– Camera noise and flare.
– Etc…“Those issues are well understood in the VFX industry, and when receiving plates, we almost exclusively use colour rendition charts to white balance and perform relative exposure adjustments, i.e. plate neutralisation.”
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