COMPOSITION
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Christopher Butler – Understanding the Eye-Mind Connection – Vision is a mental process
Read more: Christopher Butler – Understanding the Eye-Mind Connection – Vision is a mental processhttps://www.chrbutler.com/understanding-the-eye-mind-connection
The intricate relationship between the eyes and the brain, often termed the eye-mind connection, reveals that vision is predominantly a cognitive process. This understanding has profound implications for fields such as design, where capturing and maintaining attention is paramount. This essay delves into the nuances of visual perception, the brain’s role in interpreting visual data, and how this knowledge can be applied to effective design strategies.
This cognitive aspect of vision is evident in phenomena such as optical illusions, where the brain interprets visual information in a way that contradicts physical reality. These illusions underscore that what we “see” is not merely a direct recording of the external world but a constructed experience shaped by cognitive processes.
Understanding the cognitive nature of vision is crucial for effective design. Designers must consider how the brain processes visual information to create compelling and engaging visuals. This involves several key principles:
- Attention and Engagement
- Visual Hierarchy
- Cognitive Load Management
- Context and Meaning
DESIGN
COLOR
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What is a Gamut or Color Space and why do I need to know about CIE
Read more: What is a Gamut or Color Space and why do I need to know about CIE
http://www.xdcam-user.com/2014/05/what-is-a-gamut-or-color-space-and-why-do-i-need-to-know-about-it/
In video terms gamut is normally related to as the full range of colours and brightness that can be either captured or displayed.
Generally speaking all color gamuts recommendations are trying to define a reasonable level of color representation based on available technology and hardware. REC-601 represents the old TVs. REC-709 is currently the most distributed solution. P3 is mainly available in movie theaters and is now being adopted in some of the best new 4K HDR TVs. Rec2020 (a wider space than P3 that improves on visibke color representation) and ACES (the full coverage of visible color) are other common standards which see major hardware development these days.
To compare and visualize different solution (across video and printing solutions), most developers use the CIE color model chart as a reference.
The CIE color model is a color space model created by the International Commission on Illumination known as the Commission Internationale de l’Elcairage (CIE) in 1931. It is also known as the CIE XYZ color space or the CIE 1931 XYZ color space.
This chart represents the first defined quantitative link between distributions of wavelengths in the electromagnetic visible spectrum, and physiologically perceived colors in human color vision. Or basically, the range of color a typical human eye can perceive through visible light.
Note that while the human perception is quite wide, and generally speaking biased towards greens (we are apes after all), the amount of colors available through nature, generated through light reflection, tend to be a much smaller section. This is defined by the Pointer’s Chart.
In short. Color gamut is a representation of color coverage, used to describe data stored in images against available hardware and viewer technologies.
Camera color encoding from
https://www.slideshare.net/hpduiker/acescg-a-common-color-encoding-for-visual-effects-applications
CIE 1976
http://bernardsmith.eu/computatrum/scan_and_restore_archive_and_print/scanning/
https://store.yujiintl.com/blogs/high-cri-led/understanding-cie1931-and-cie-1976
The CIE 1931 standard has been replaced by a CIE 1976 standard. Below we can see the significance of this.
People have observed that the biggest issue with CIE 1931 is the lack of uniformity with chromaticity, the three dimension color space in rectangular coordinates is not visually uniformed.
The CIE 1976 (also called CIELUV) was created by the CIE in 1976. It was put forward in an attempt to provide a more uniform color spacing than CIE 1931 for colors at approximately the same luminance
The CIE 1976 standard colour space is more linear and variations in perceived colour between different people has also been reduced. The disproportionately large green-turquoise area in CIE 1931, which cannot be generated with existing computer screens, has been reduced.
If we move from CIE 1931 to the CIE 1976 standard colour space we can see that the improvements made in the gamut for the “new” iPad screen (as compared to the “old” iPad 2) are more evident in the CIE 1976 colour space than in the CIE 1931 colour space, particularly in the blues from aqua to deep blue.
https://dot-color.com/2012/08/14/color-space-confusion/
Despite its age, CIE 1931, named for the year of its adoption, remains a well-worn and familiar shorthand throughout the display industry. CIE 1931 is the primary language of customers. When a customer says that their current display “can do 72% of NTSC,” they implicitly mean 72% of NTSC 1953 color gamut as mapped against CIE 1931.
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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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