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ninedegreesbelow.com | ||
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prolost.com
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| | | | | [AI summary] The text provides an in-depth exploration of color management and workflow in film and video production, emphasizing the importance of ACES (Academy Color Encoding System) as a standard for color consistency and accuracy. It compares different color spaces like sRGB, Adobe ProPhoto, and ACES, highlighting their strengths and limitations. The author discusses the challenges of working with ACES, including the need for specialized tools and workflows, and the benefits of using ACES for post-production. The text also touches on topics like gamma correction, color grading, and the role of color science in achieving professional-quality results. Additionally, it mentions the integration of ACES into modern software tools and the growing adoption of A... | |
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ericportis.com
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| | | | | [AI summary] The article explores the concept of color spaces, focusing on how colors are represented and manipulated in different systems. It begins by explaining that colors are abstract concepts without inherent spatial relationships, but they can be organized into coordinate systems for practical use. The CIE XYZ color space is highlighted as a foundational model that linearly represents light intensity, enabling precise mathematical solutions for color mixing and matching. However, predicting how humans perceive color differences remains a complex challenge, as it involves the nonlinear and subjective nature of human vision. The article then introduces Oklab and OKLCH as modern color spaces that aim to model perceptual uniformity by isolating lightness,... | |
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programmingdesignsystems.com
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| | | | | Programming Design Systems is a free digital book that teaches a practical introduction to the new foundations of graphic design. | |
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erikmcclure.com
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| | | A long, long time ago, in pretty much the same place I'm sitting in right now, I was learning how one would do 2D lighting with soft shadows and discovered the age old adage in 2D graphics: linear gradient lighting looks better than mathematically correct inverse square lighting. Strange. I brushed it off as artistic license and perceptual trickery, but over the years, as I dug into advanced lighting concepts, nothing could explain this. It was a mystery. Around the time I discovered microfacet theory I figured it could theoretically be an attempt to approximate non-lambertanian reflectance models, but even that wouldn't turn an exponential curve into a linear one. | ||
