X-Rite MSCCC ColorChecker Classic, color Rendition chart, 8.5 x 11 Inch

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Interestingly enough Thomas Mansencal made a plea for Colour Analysis tools… In 2014 ! I am only six years late. Pointer’s gamut Next, create an Arnold SkyDome (Arnold > Lights > Skydome Light), which will be a 360 white dome of light, and hit render. You should see something like so, and again, when reviewing the values, all should be 0.191. I found this last part particularly interesting. The misconception about the albedo I was talking earlier may come from these different behaviors. This is particularly critical for our next paragraph.

For the Chrome ball, create another sphere, and apply a new Standard Surface material and this time, call this material chrome_MAT. Then set the following values: So, how should we use the chart without freaking things out within our VFX workflow? Primarily by only using it to neutralise the plate. That means to: So in a nutshell, at CAVE Academy, we’ll be setting the mid-Grey value across the board on all shaders/applications in ACEScg colour space as 0.19. Don’t worry – this is as expected. The grey ball looks ‘blue-ish’ becuase the light has blue in it. It is still grey. The Macbeth chart looks as it does becuase the current shader does not respond to light. So apply a Standard Surface to the Macbeth chart geo, plug in the texture, and waa-laa, you should have something like so: Being able to problem solve from what you have is an extremely important skill, so do work on that. But…if you do get the fancy reference, make sure to give you friendly neighbourhood onset folk a big “ THANK YOU“. They’ll appreciate it for sure 😉If I know that the CG asset will be moving through different positions in space, I’ll try to capture the reference from those positions too. For example, maybe Iron Man is going to walk from one side of the room to the other. If so, it would be useful to capture the reference at three different points along that path. And through the main camera, you’ll want to film the reference going through the same motions. As mentioned above, the aim of the game is to use the reference to calibrate our digital scenes to the photographic reference. To do this, we’ll need to build a digital twin of the physical environment (that is the best way anyhow) and then position the HDRI light sources into 3d space, matching the physical light positions. And if you are not matching to photographic reference, you’ll still want to standardise your setups, so your team is working with a calibrated and known dataset. When he is told that Macduff has deserted him, Macbeth begins the final stage of his tragic descent. His first move is the destruction of Macduff's wife and children. In England, Macduff receives the news at the very moment that he swears his allegiance to the young Malcolm. Malcolm persuades him that the murder of his family should act as the spur to revenge. For example, Roy S. Berns and Lawrence A. Taplin (2006). "Practical Spectral Imaging Using a Color-Filter Array Digital Camera". This totally sounds like a legit solution. But to what should we compare the Pointer’s Gamut ? The answer is given to us in the same article (just read it) :

Notice Lennox’s tone when he is criticising Macbeth in Act 3 Scene 6. How do you think suspicions are growing among the thanes? Who is siding with who and why? Why might the thanes take Macbeth’s side and why might they oppose him?a b C. S. McCamy, H. Marcus, and J. G. Davidson (1976). "A Color-Rendition Chart". Journal of Applied Photographic Engineering 2(3). 95–99. On the odd occasion, it could be that you are lit in the exact same lighting environment as the image of the Macbeth chart (especially as we head into more immersive experiences and shoot conditions) but until then, DON’T DO IT! This is because in Maya and Nuke, we are using the ACES 1.0 SDR-video (sRGB) View Transform. But if you flip this to Un-tone-mapped (sRGB), you should be good to go. Here's asubtlety concerning colour reproduction. Everyone documents the colours that are produced from the chart under whatever illuminant you use. But imaging systems almost invariably introduce tone and colour mapping to make images look right when displayed (as is usually the case) much less bright and with lower contrast ratio than is typical at capture. When captured or reproduced, the luminance and chromaticity values should not be expected to match the camera's or scanner's stimuli! For more about this, see The above data has been provided by the wonderful team at Colour Science, so a huge thanks to them. If you can, I highly encourage you to support them, so they can provide us with even more fancy tools and training. There is a reason why so many colour-related headaches have been reduced over the years, and they, along with ACES Central, have been instrumental in pushing for consistency and standardisation.