Camera

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Physical camera data
[[21-01-01-Art art]]

Better to overexpose as much as possible without clipping (only with low dynamic range)

Camera

Shutter Speed

Exposure time in seconds.

s    
1/4000-1000 Fast Freez Motion, Less light
1/250 medium  
1/60-125 medium  
1/15-30 slow night photos
1/2   Blurs Motion, More light
>1    

Aperture

F-number / F-stop / F-ratio is Focal length to the diameter of the entrance pupil. f/4 big hole - f/16 small

are actually ratios. They are derived from focal length divided by the diameter of your aperture f/N

f/N Conditions Shade Size DOF
f22 Snow   ° Sharp Image - ∞
f/16 Sunny shard shadows ⚬ Narrow
f/11 Slight Overcast soft shadow ⚬  
f/8 Overcast minimal shadow ○  
f/5.6 Heavily Overcast no shadows ○  
f/4 Rain/Shade/Sunset   ◯ Wide
f/2.8 Dusk   ◯ More DOF / Shallow distance

ISO

In modern cameras dont have connection with noise level

High ISO:

  • Increase image brightness
  • Decrees dynamic range
  • Decrees tonal detail and accuracy

High ISO use case if u need:

  • Short shutter speed (motion blur concerns)
  • Smaller Apertures (DOF Concerns)

EV

Combinations of shutter speed and f-number EV = log^2 * (aperture^2/shutter speed s.) Each increment of 1 in exposure value corresponds to a change of one stop EV100 = ( log2(Aperture² / (Shutter Speed) * 100 / ISO) )

  • EV depth
  • Eye 20 f-stops
  • Best cameras 16
  • DSLR - up to 13

Sunny 16

  • More or less each stop in aperture increase (i.e., decreasing the f-number), the exposure time has to be halved: iso 100 shutter 1/100 , iso 200 shutter 1/200, iso 800 shutter 1/1000
  • Values for direct sunlight apply between approximately two hours after sunrise and two hours before sunset, and assume front lighting. As a rough general rule,
  • decrease EV by 1 for side lighting,
  • decrease EV by 2 for back lighting.

Lens

Affects: Aperture / DOF / Focus speed / How much light enter sensor.

Lens types:

  • Standard lens - change image while focus change.
  • Still lenses primes - without zoom are more stable, and can compensate image on focus change to maintain stability. Zoom lenses are hard to make
  • Tilt shift lens. A tilt shift lens distorts perspective, making things look smaller than they really are—almost as if they are toys.

Focal Length

How much lens will zoom. (distance from film to center (?? aperture)) DIVIDE BY: f number (diameter of smallest hole) f=135mm / 2.8 f-number = 48.2mm

Focal Length Type Usage Cons  
8-24mm Ultra Wide, Angle Fisheye Architecture Distort facial features, and perspective  
24-35mm Wide Angle      
35-70mm Standard Closely reproduce what eye see   Human eye ~50
70-105mm Mild Telephoto Portrait    
105-300mm Telephoto      
300+ Extreme, Macro Wildlife Cons: Large f-num Far away so flat

Image characteristic

correct through distortion and aberration maps provided by producent

  • Bokeh - Quality of out of focus highlights and rest of image (can be falloff (smooth), even or inverted falloff (old styled))
  • Chromatic Aberration - Caused by Dispersion. diff in speeding of different light lengths (on big highlight or out of focus areas) blue is bend more strongly than G
  • Spherical Aberration - Ghost Glow (soft image on sharp mixed error) when wide open hard to make inside and out same point of focus (optical axies is moved in corners depend of shape of lens and lens material )
  • Distortion - Most in super wide (barrel distortion) or long (pincushion) lenses. (Difference in magnification between center and outside edges)
  • Sharpness -
  • Lens Flares (inner reflections in lens system depend on arrangement in lens construction)
  • Vignetting -
  • Micro contrast

Crop Factor

Focal length multiplier. Ratio of the dimensions of a camera’s imaging area compared to a reference format of 35 mm - (full frame Sensor). Full frame cam have better shallow DOF Bigger factor > bigger zoom

Nodal Point

of the lens (or more correctly, the entrance pupil) can be considered as the point at which the rays entering the lens converge. It can also be considered as the center of perspective of the lens or the apparent pupil.

Filters

  • polarizer
  • darker
  • promist / black mist - diffuser

Film

Places where is lot of light chemicals form crystals and film become less transparent to light resulting negative.

Film response to light not linear way, (CCD can produce it), but most films have s-curves and we can recognize them by specification of film. In film curve we have more detail in curves, more realistic. !! (nice roll of in bright)

Film - light response. Diagram of irradiance . and intensity on sencores. Kodak KAD2001 CCd most thrue, most of films have toe and …. S-curves. with easy in on brights highlights (highlights compression). More details on bright light so you can put stronger light >

Auto modes

S Shutter Priority

for sport and wildlife

A Aperture Priority

for landscape and portraits

Auto

Quick

Tech

  • ETTR - Expose to the right (as much light as possible )

Directing

Subject matter

Have a Subject Matter

  • Focal point, composition lines (but its not true that they lead eye (physically) its not literally its only specializing abstract concept ). If character in scene, focal point is where is head or where he look.

Dynamism

Dynamic vs static

  • dynamism: moment just before action, during, after
  • Visual flow Lateral Updraft, Bouncing, Stuck in vortex, Swipe and repeat, Chutes n ladders, Splitting atom
    youtu.be/wBA_qGRqd20?t=267

Point Of View

Position
  • human camera: on Eye level, or below when showing vista.
  • horizon on the shot
  • when for human shot, bellow or above, will characterize shot .
Perspective

FOV games 60 , concept art design 90-120 FOV (;ems 35 or smaller up to 8) (to show more even in small spaces ) Console optimized for tv far away Pc FOV higher because is closer to eyes

Framing

Composition
montage - miningfull combinantion of justaposition of images

  • Depth mid : subject matter, back : context
  • Edges
    • Occur in: Object, Plane or Color
    • Types: Hard, Soft, Lost
    • Avoid: (tangents) Hidden, Skimmed, Fused, Stolen
  • Crop
    • can be indicated by shadow,
    • character can bye cropped by item
    • by edge of canvas
  • Rule of 3rd

  • Golden ratio sectio aurea a+b/a = 1.618 φ - golden spiral is a logarithmic spiral whose growth factor is φ

  • closeup for emotions
  • wide for intor and wide action

Cinematography

https://chrisbrejon.com/cg-cinematography/appendix-1-guerilla-render-in-production/ Cinematic Visual Language

FPS

23.98 29.97 59.94 120

Camera

  • Depth, Framing, Cropping, FOV
  • Avoid unnecessary moves, unwanted obj cutouts.
  • Depth of Field Grain Bloom

Editing

  • J cut - sound precedes the cut - smooth scene introduction
  • B-Roll - video footage that sets the scene, reveals details, or generally enhances the story
  • Eye Trace - being aware of where the audience’s eyes are looking
  • 180 axes of action indicate on the screen
  • 45 Degrees at least when 2 cuts showing same obj
  • It’s easy to cut between close and wide angles
  • Cut on Motion / Cut on Similar Elements

Trailers

more filmmaking / performance than gameplaying .

  • visual feedback (how easy is to see change and understand)
  • camera distance
  • number of objects - Readability
  • intentionality of shots
  • Audience familiarity with subject. or required knowledge

Direction / cameras / puppeteers

  • are u capture as player or 3rd person
  • you can eye trace for shot cuts: u don’t have to move your eyes to much
  • cam movement can a character. Speed of camera tells a lot character
  • controllers are best for slow movements
  • use metronome when playing to the music

Hollywood scenario:

  • introduction
  • reviel early
  • vfx shotwith music
  • character hopefully looking
  • quick slide show
  • clip of sth bad
  • vfx shots
  • scene with doubt about main character fate
  • vfx money shot
  • title

Choreography / Scenography

Compression

H.264 -
ffmpg -
https://github.com/Aeoll/FFmpegify

Progressive scan (no interlacing) / High Profile / 2 consecutive B frames / Closed GOP. GOP of half the frame rate. / CABAC / Variable bitrate. No bitrate limit required, though we offer recommended bit rates below for reference / Chroma subsampling: 4:2:0 \ Recommended video bitrates for HDR uploads:

  • 2160p (4k) 44-56 Mbps (24-30k) 66-85 Mbps (60k)

Type Audio Bitrate

  • Stereo 384 kbps
  • 5.1 512 kbps

[book: Light Science & magic: An Inttroduction to Photofraphic Lighting]
[book: Feininger - Principles of Composition in photography]
https://aaronhertzmann.com/2022/03/10/photographic-tone.html

Cam in games