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: There are some interesting albedo charts out there even from different render engines, like Unity and Unreal. Since these values have been obtained from real-world measured values, they are pretty good guidelines. It is also interesting to notice that charcoal and snow are generally the “ extreme” examples in most albedo charts. First of all, a very basic question that has bothered many people. Why is it called Pointer‘s ? It is actually very simple ! In 1980, a scientist named Michael Pointer took over 4000 references to study their colors and came with a Gamut named after him. A possible improvement of this post could be to generate two charts : one for Diffuse Reflectance and one for Specular Reflectance. Sounds like some interesting homework for the future ! Links Once you’ve tested things in a neutral space, you can then introduce other HDRIs or coloured lights to see how your shader responds in other environments. But for your ‘testing’ and ‘tweaking’, you should do this in a controlled environment. Much like a scientist doing clinical tests and then moving on to live tests.

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.The best thing to do is actually measure the reflectance of your grey ball and then create a digital shader to match that. This is something we’ll document later on. Onset Training But…if you are still rendering balls randomly floating in space, then I’ll be sad. Give your balls some purpose and meaning. Don’t follow the crowd without asking WHY! You know my WHY, so what’s yours? Same Info, Explained Slightly Differently 😉 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. But how else do you expect it to look? You are using a HDRI that was taken in Regents Park. A Park covered in green grass. Go and take a grey ball and a white ball, and stand in Regents Park with them. Guess what, light bounces around. Welcome to the real world!” And then if you are doing and surfacing work (texture, groom, look dev), then definitely yes. I want to know what the environment is like that you’ve been creating these shaders in and what the lighting is like in your additional lighting environments.

So if you take your image into Photoshop, you’ll find that the result for mid-Grey will result in a value of around 95-ish. Not around the 128, 128, 128 mark (for RGB). The fresnel in the diffuse_albedo is a result of the Specular IOR and how it affectsthe albedo of the diffuse to make it energy efficient.So with no Specular, there would be no fresnelon the diffuse_albedo, as all the energy would be in the diffuse. From the Arnold documentation.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! And be observant of how the real world works and how real-world objects respond to real-world lights. The more you do that, the more believable your CG will be. If you set your Base Color (or Diffuse Color) directly in ACEScg, it is important to be aware that there should be some limits in terms of saturation and luminance. One may ask : what would be a proper limit for the Diffuse Color ? From Wikipedia : Surface albedo is defined as the ratio of radiosity to the irradiance (flux per unit area) received by a surface. […] albedo is the directional integration of reflectance over all solar angles in a given period. Great article about this as well: Everything is shiny. Surface > Texture: For the Texture team, they’ll be interested in having the Macbeth chart as this will allow them to white balance and expose their photography reference consistently.

var f = d.getElementsByTagName(s)[0], j = d.createElement(s), dl = l != 'dataLayer' ? '&l=' + l : ''; I tweaked the shaders and now it all looks stupid. Nothing is working. It’s all wrong, wrong, wrong 🙁 “ 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.What you need to change is the lighting. Our shaders for the spheres should stay consistent. And now we can see our balls! Great. But now you might say: The Pointer’s gamut is (an approximation of) the gamut of real surface colors as can be seen by the human eye, based on the research by Michael R. Pointer (1980). […] What this means is that every color that can be reflected by the surface of an object of any material is inside the Pointer’s gamut. Firstly and before we continue, please note that I would not usually use Photoshop for any colour related tasks within a production pipeline. Primarily because it is not all too good for colour accuracy, especially when working within an ACEScg colour pipeline. Instead, I would use tools such as Nuke and RawTherepee. Take note of the conversation between Lady Macbeth and Macbeth at the end of Act 3 Scene 4. This is their last conversation together. How does it differ from their first scene? What do you think happens to Lady Macbeth after this point? How are their roles different? For illustrative purposes (of which we’ll explore below), I’ve also shot the reference kit in different positions. As mentioned above, if a CG asset were to be added that moves around withing the space, then shooting the additional reference shot makes sense. But if the asset is to remain in one position, then just one set of reference images will suffice. Using the Reference in Post

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 From a measurement and unit standpoint albedo is meant to represent diffuse reflection (of solar irradiance). The problem is as much as you can separate them when you model a BRDF, it is really hard to do so in real life when taking measurements. In a way, specular reflection is almost always a subset of diffuse reflection, it is reflection after all. When the reflectance of a chart is measured, it is done with a precise geometry, e.g. 0:45 (light aligned to the tangent, receiver/sensor at 45deg) and what is measured is the total reflection of the incident light. Because the light irradiance is known, you can then deduce the reflectance of the surface. With the Macbeth chart up and running (and we’ll switch the shader so it responds to light later on), let’s get a Grey ball created. Do this by creating a sphere. Easy 😉 So, in a nutshell, if you are not matching directly to reference, then present your model within a nicely lit environment. With or without the reference – up to you. I personally would go ‘with’ as it allows the reviewer to get a sense of the lighting used in the scene. I’ll share here a few values here so you get a rough idea if they’re inside the Pointer’s Gamut or not. But let’s not be too dogmatic neither, since everything is “wrong” in digital RGB scene rendering… Colorspace

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Because he knows the witches' prophecy, Banquo is suspicious of Macbeth. And because of the prophecy that Banquo's line will reign as kings, Macbeth sees Banquo as a threat. Macbeth gives a feast, inviting many thanes, including Banquo. Macbeth hires two murderers to kill Banquo and his son Fleance as they ride to attend the feast. The men kill Banquo, but Fleance escapes. At the feast, Macbeth sees Banquo's ghost, though no one else does. Macbeth's behavior and the death of Banquo make all the thanes suspicious. They begin to think of Macbeth as a tyrant. Macduff refuses to appear at the royal court at all, and goes to England to support Malcolm in his effort to raise an army against Macbeth. Set in medieval Scotland and partly based on a true historical account, Macbeth charts the bloody rise to power and tragic downfall of the warrior Macbeth. Already a successful soldier in the army of King Duncan, Macbeth is informed by Three Witches that he is to become king. As part of the same prophecy, the Witches predict that future Scottish kings will be descended not from Macbeth but from his fellow army captain, Banquo. Although initially prepared to wait for Fate to take its course, Macbeth is stung by ambition and confusion when King Duncan nominates his son Malcolm as his heir. 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. I’ve not set up anything fancy with the lighting. Just enough to demonstrate how the reference kit responds to the lighting as I move them around the shoot space. We could definitely think about developing an application allowing us to compare our base color textures to the Pointer’s Gamut. A few studios have already developed some solutions internally and an open-source software would be more than welcome for the community.