1. Upcoming Deadlines Homework #13 – Creating Stereoscopic 3D Images Due Tuesday, May 15 th (Last day of classes) 20 points (10 points if late) Final Exam - Tuesday, May 22 nd from 1215 to 1430 in this room. All assignments and extra credit due on May 22 nd For full schedule, visit course website: ArtPhysics123.pbworks.com Pick up a clicker, find the right channel, and enter Student ID

2. Homework #13 Creating stereoscopic 3D images. For this assignment you will create at least three different stereoscopic images from photographs. At least one of the images should have you appearing in the photo and at least one of the images should be a recognizable location on campus. You will be graded on the composition so plan your scenes to make them interesting (especially for 3D).

3. Stereo 3D Photos with Photoshop Steps for creating stereo 3D photos in Photoshop: 1)Snap a photo, move 3 inches to the right, take a second photo. Avoid having objects closer than a yard away from the camera and no moving objects! 2)Open both images in Photoshop. Hold the shift key and drag the right eye image on to left eye image. 3)Rename the layers “Right Eye” and “Left Eye”; make sure the Right Eye layer is on top. 4)Double click the Right Eye thumbnail to open the Blending Window. In Advanced Blending uncheck the Red Channel for Red/Cyan glasses (or Green Channel for Green/Magenta glasses).

4. Stereo 3D Photos with PhotoShop Uncheck the Red Channel Select Right Eye Layer

5. Homework #13 Course website has details and tips on making 3D photos. Upload your photos to your blog in an entry entitled “Creating Stereoscopic 3D Images” Extra Credit: You can also create a pair of stereo-ready images in Autodesk Maya by rendering a scene for one image, then shifting the camera position and rendering the second image. Extra Credit: Create a 3D animated short, either by stop motion or in Maya. Ten bonus points for a good animation; twenty bonus points for a great one.

6. Student Evaluation Need a volunteer to distribute and collect student evaluations. Volunteer should deposit the packet of completed forms in the mailbox at front door of the building (exit to Tower Hall). Evaluations When finished, find me in Room 242

7. Survey Question This course has four parts; which part was the least interesting for you: A)Basic Animation (Falling, etc.) B)Character Animation (Walks, etc.) C)Effect Animation (Waves, etc.) D)Lighting (Shadows, Color, etc.) E)About the same for all four

8. Review Question Red Cone Green Cone Blue Cone What color do you see when your eye receives both red and blue photons? A)Yellow B)Green C)Magenta D)Cyan E)White

9. Review Question C) Magenta This is nicely demonstrated with the spinning Maxwell disk.

10. Review Question The ear hears sound waves and senses the wavelength of the sound as the pitch. The eye sees light waves and senses the wavelength of the light as color. The ear doesn’t have a “lens” so it can’t form an image but otherwise the ear and the eye are very similar. True or False

11. The Ear vs. The Eye A E D How the ear senses sound waves is distinct from how the eye senses light waves. Hearing an E and a D together does not sound like an A. Seeing green and red together does look like yellow light.

12. Review Question If you stare at a red cross for a few seconds and then look at a white wall, the after-image you see is cyan. What color is the after-image if the cross is blue? A)Red B)Yellow C)Green D)Magenta E)Orange Red cross After- image Blue cross

13. Negative After-image Stare, unfocused, at the red cross for 10 seconds then look at white wall

14. Negative After-image Yellow

15. Additive Complements After-image of blue cross is yellow since blue cone gets tired so when white light excites all three cones, red & green cone signals are stronger than blue cone. Yellow = White - Blue R G B

16. Making Color

17. Spectrum & Color Wavelength Brightness The color you see depends on the spectrum of the light waves reaching your eye.

18. XYZ Tristimulus Values There’s a complicated mathematical formula to get the tristimulus values from the spectrum curve. Wavelength Brightness X = 0.2 Y = 0.7 Z = 0.1

19. Creating Colored Light Two basic ways of creating colored light: Light source produces colored light. Absorb some of the light’s wavelengths. Filter

20. Thermal Light Sources When objects glow with heat they emit light in a broad spectrum, called the blackbody spectrum. The peak of that spectrum shifts from red to blue as the temperature increases.

21. Thermal Light Sources Notice that the color of thermal light sources goes from red (2000K) to blue (12000K) but it is never green. Spectrum is broad around 6000K so we see it as white. CIE “Color Wheel”

22. Solar Spectrum UV Visible Infrared Brightness Spectrum of the Sun is brightest in the range of wavelengths that are visible to us (adapted by evolution). Sun is so bright at all visible wavelengths that it’s seen as white or unsaturated yellow.

23. Spectral Lines Some light sources produce spectra with lines, indicating wavelengths for which the atoms have resonant oscillations.

24. Neon lamp % Red Cone % Green Cone Neon lamps produce a well- saturated red, but not as pure as sodium lamp’s yellow

25. Spectral Reflectance Curves When white light shines on a colored object, some photons are absorbed, others are reflected by the object’s surface. Red White

26. Printing Inks Printing inks use only three bright pigments: Yellow Magenta Cyan Yellow Cyan Magenta Red Green Blue (also use black ink, which is cheaper than mixing for black)

27. Mixing Yellow & Cyan Inks Bright Yellow Bright Cyan BLUE GREEN RE & Green 

28. Subtractive Color Find mixture color by simple color “arithmetic.” Yellow = Red+Green Cyan = Blue+Green Magenta = Blue+Red So mixing: Yellow & Cyan = Green Yellow Red R Y B G M C Yellow Cyan Magenta Red Green Blue

29. Four Color Printing MagentaYellowCyanBlack Magenta + Yellow + Cyan All Four Green balloon printed with mix of yellow and cyan inks

30. Paint Pigments Paints are suspensions of pigment particles. Different types of paint (watercolor, acrylic, oil, gouache, etc.) are just different binding solutions for holding pigment.

31. Name That Pigment Titanium White Cadmium Red Burnt Sienna BLUE GREEN RED 0% 100% BLUE GREEN RED Reflectance Percentage

32. Name That Pigment Phthalocyanine Green Cadmium Yellow Cobalt Blue BLUE GREEN RED 0% 100% BLUE GREEN RED Reflectance Percentage

33. Artist’s Handbook These spectral reflectance curves and those of many other standard pigments are found in Mayer’s book.

34. Color Subtraction % Red Cone % Green Cone Combining pigments is more complicated and the resulting color is difficult to predict. Learn by practice Green paint Red paint Dark Brown

35. Mixing Yellow & Blue Paint % Red Cone % Green Cone Mixtures of yellow and blue paint often mix to green Blue paint Yellow paint Green By contrast, adding yellow and blue lights gives white light

36. Mixing Yellow & Blue Bright Yellow Blue & Bluish Green  Yellow absorbs much of the Blue Blue absorbs much of the Red Reflectance %

37. Mixing Red & Blue Blue & Crap  Red Reflectance curves for pigments and their mixture

38. Effect of the Light Source The color of an object depends on both the spectral reflectance curve and on the spectrum of the light shining on the object. White Red Green ? Magenta ? Same “red” object in different lights

39. Pigment Value & Light Source Yellow pigment under blue light is dark gray. Cadmium Yellow BLUE GREEN RED Put paint swatch in this area

40. Pigment Value & Light Source Yellow pigment under red light is bright red Cadmium Yellow BLUE GREEN RED Put paint swatch in this area

41. Demo: Alexandrite The color change from red to green is due to strong absorption of light in a narrow yellow portion of the spectrum, while allowing large bands of blue-greener and red wavelengths to be transmitted. Typically, alexandrite has an emerald-green color in daylight (relatively blue illumination of high color temperature) but exhibits a raspberry-red color in incandescent light (relatively yellow illumination). Sunlight or FlorescentIncandescent light

42. Demo: Sodium Lamp Sodium lamps produce a true, spectral yellow light Pile of toy balloons

43. Demo: Sodium Lamp Sodium light Florescent light

44. Light Source, Value, Saturation The value and saturation of an object’s color also depend on the spectrum and the intensity of the light shining on the object. Dim Red Same “red” object in different lights Bright Pink

45. Saturation & Value High Value and Low Saturation Low Value and High Saturation As lighting conditions change, value and saturation usually vary together. Value Saturation Value Saturation

46. Black, White, Gray % Red Cone % Green Cone 33 % Black, white, and gray are all the same hue, just different values (brightness)

47. Experiment Photographed black felt and white flannel tablecloths

48. Black or White?

51. Black Paint Black paint reflects more light (has higher value) than you may think. Compare the value of the matte black paint with that of the holes.

52. True Black The closest you can get to true black is a hole that lets light in but not back out. Surprisingly, even the lunch box painted white inside doesn’t reflect much light out the hole. White in the shadow is darker than black in the light.

53. Last Lecture Stereoscopic (3D) Films *Bring Your 3D Glasses* Homework 13 (Creating 3D Images) due Tuesday, May 15 th (Last day of Class) Please turn off and return the clickers!