By Arnold Gallardo
Книга для 3D-визуализаторов из разряда «маст хэв» - прекрасно иллюстрированное справочное пособие по созданию освещения сцены: теория, общие принципы, конкретные примеры.
Read or Download 3D Lighting: History, Concepts, and Techniques (With CD-ROM) (Graphics Series PDF
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Extra info for 3D Lighting: History, Concepts, and Techniques (With CD-ROM) (Graphics Series
NOTE Please see the CD-ROM for color versions of Figures. 3 shows, the eyes cover a wider spectrum in terms of sensitivity than the predominantly blue-green, unfiltered response of film. The colors that the film does not “see,” 43 3D LIGHTING 44 F IGURE The scene shot showing the blues and extreme violets. 3 especially reds, oranges, and yellows, are rendered darker than the eye would expect. Since the film is “blind” to reds and yellows, these colors are rendered identically as dark tones. 4).
In certain cases, when the refracted angle equals the incoming angle, the light does not go through the second medium but gets reflected back into the first medium. The angle that produces this effect is called the critical angle. This is responsible for the “internal reflections” that we see in certain situations. The law of refraction is responsible for many of the interesting effects that we see, including caustics, which are a kind of collectively focused specularity. The law of refraction is also responsible for the ease of simulating glass and other transparent media in CG.
When projected, the black areas absorb light and the light areas let light through. Since the light did not strike the unexposed film evenly in all areas, some areas partially allow light through. When developed and projected, these areas are perceived as subtle tonal gradations. This is how we perceive tones in film and is the basis for all kinds of film we use today. Special films such as infrared are also based on these principles. L IGHT AND F ILM I NTERACTION When light passes through film, it creates several physical manifestations that affect the film.