FORM Lighting - lighting form

 2024-06-30 17:57:31

Type of microscope

Now when it comes to determining the total magnification of the compound light microscope, what we need to know is that the total magnification of the specimen is going to be the multiplication. It's the multiplication of the magnification provided by each lens. Usually, when we're calculating the total microscope magnification, we just multiply the ocular lens magnification by the objective lens magnification. The ocular lens magnification is usually always going to be 10 × magnification. And so the ocular lens magnification usually does not change, and that's fairly standard for the ocular lens magnification on a compound light microscope. The objective lens magnification can change, and so it depends on which objective lens is being used. The red, the yellow, the blue, or the black providing a 100 ×. And so, if the 4 × objective lens were being used, then to calculate the total magnification of the microscope, you do 10 × times 4×, and so 10 times 4 is 40, and the total magnification would be 40 if the 4× were being used. If the 10 × objective lens were being used, then you would do 10 ocular lens magnification times 10 objective lens magnification. And so 10 times 10 is a 100×, and the total magnification would be a 100×. If the 40 × objective lens were being used, then you would take the ocular lens magnification 10 × and multiply it by 40 ×, and so that would give you 400× magnification. Last but not least, if the 100 × objective lens is being used, then to get the total microscope magnification, you do the ocular lens magnification of 10 ×, times the 100× of the objective lens. And so 10 times a 100 is 1,000× magnification. Be careful not to confuse total magnification with the magnification of each individual lens. It's important to remember that you need to always multiply the objective lens magnification by the 10 × ocular lens magnification to get the total microscope magnification. We'll be able to get some practice applying this concept right here as we move forward in our course. But for now, this here concludes our brief introduction to the components and magnification of a compound light microscope. I'll see you all in our next video.

The department will also eventually integrate systems that will help some simulations of CFX (Cloth dynamics such as curtains, napkins, etc…), Hair (grass, carpet, fur) and VFX (vegetation, wreckage) departments. The Set&Props Rigging department is also responsible for the pipeline and the Maya tools used by the departments Sets&Props Modeling, Surfacing and Rigging departments.

Editorial is a department in the heart of the production process. It produces the references in terms of shots, timing, sound, etc… and receives shots from the other departments in order to include them in the film edit as the project progresses.

There is a drawback to bright field microscopy, as unstained transparent organisms can sometimes create very poor contrast with a bright background. If you have unstained transparent organisms, then they may not create much contrast with their background. Sometimes, staining is not a solution because some staining procedures may kill the organism, which might not be what the scientist wants. There are other types of light microscopes that help to resolve this drawback by helping to increase contrast. We will talk about light microscopes that increase contrast later in our course.

It can also be produced on a modeled surface to then be projected. It will create parallax in shots that include camera movement.

The Lighting Department receives from the Pipeline Department the final shots, including VFX and CFX, and export them to the in-house rendering software. The Lighting team setups the lights and the mood using Art Department references, and then enhances the lighting quality of each shot.

The Sets and Props Rigging department builds the skeleton of the objects produced by the Sets&Props Modeling department. It installs the system (eg. skeleton, deformers, controllers, etc…) that will allow layout and animation to bring life to those objects.

Bright field microscopy is a common technique that produces a bright background, allowing for the examination of stained and unstained specimens. The compound light microscope, a key type, utilizes two lenses—ocular and objective—to enhance magnification. Total magnification is calculated by multiplying the ocular lens (typically 10x) by the objective lens magnification (e.g., 4x, 10x, 40x, or 100x). This method is essential for observing cellular structures, though unstained transparent organisms may lack contrast, necessitating alternative microscopy techniques for better visualization.

Next, we have this piece that's right below the stage here that we call the condenser, which is important for focusing and controlling the amount of light that passes through. We can go ahead and cross off the condenser.

Fluorescence microscope

A compound light microscope has several key components: the ocular lens (eyepiece), objective lenses, stage, slide holder, condenser, light source, coarse focus knob, and fine focus knob. The ocular lens is where you look through, and it typically provides 10x magnification. The objective lenses are rotatable and provide varying magnifications (e.g., 4x, 10x, 40x, 100x). The stage holds the specimen slide, and the slide holder keeps it in place. The condenser focuses and controls the light, which originates from the light source at the base. The coarse and fine focus knobs adjust the stage's height to bring the specimen into focus.

Animation Fixing makes a technical check of the animation plans. It is responsible for all “post-anim” elements for the following departments: CFX, VFX, lighting. He offers solutions to improve the management of problematic shots and to optimize the animation pipeline.

Stereo is involved in the Layout to set up the stereo camera settings. They define the IOC (inter-ocular), the HIT (horizontal image translation) and the Toe (convergence) to adjust the stereo. They intervene in Animation and finalize their settings in Compositing.

The artists have various tools at their disposal to sculpt some type of volume and add numerous details that will bring life to the character.

Working alongside the Hair department and in close collaboration with the Art Director and the Lighting department, the Character Surfacing artists will create the textures, the shaders and an appearance that will adapt to 3D rendering, while keeping the conformity with the initial design.

The VFX department works from Setdress or CFX shots to deliver either to the OCC (pipeline) or compositing department for rendered elements.

The main role of the Research & Development department is to propose new technologies in order to enhance the level of quality of our films, or the efficiency and the convenience of the production.

In order to polish the frame’s composition, the Set Dressing Department finalized the set layout to ensure continuity and to highlight the animated characters’ performance. From the animation main and crowd shots, the Set Dressing team delivers finished shots to the Lighting – Compositing.

In this video, we're going to talk about the components and the magnification of a compound light microscope. The compound light microscope actually has several different components as you can see from the image below that you likely need to be familiar with. It's called a compound light microscope because there are 2 lenses that are compounded together, or 2 lenses that are used together. Light is going to pass via 2 lenses, the objective lens and the ocular lens. Each of these lenses is going to provide additional magnification to help increase the apparent size of the image. If we take a look at this image that we have below, notice that we're showing you the components of a compound light microscope. Notice that the compound light microscope is going to be compounding 2 lenses together. There is the ocular lens where these eyepieces are, and then there's also the objective lenses, which are these lenses, right here in this position. These lenses are rotatable lenses. You can actually rotate this little nose piece right here to get different objective lenses, and each one provides different magnification. You can see the red one provides 4 × magnification. The yellow one provides 10 × magnification. The blue one provides 40 × magnification. And, usually, there's a 4th one that's in the background that you can't really see right here, but it would provide a 100× magnification. The objective lens and the ocular lens are compounded together, and that is why we call this a compound light microscope. Then we have here is the stage, where you place your glass slide containing your specimen. And you have a slide holder here, which is basically this little clip that's going to hold your slide in place so that it doesn't move around. You have a condenser right here at this position, which is going to be focusing and controlling the amount of light. Then you have the light source at the very bottom. This is where the light is actually going to be originating from. Over here you have a little lever, that you can use to control the intensity of the light. Then you have 2 knobs here that are referred to as the coarse focus and the fine focus. The larger one in the back, this larger piece here in the back, is called the coarse focus, and the smaller knob right here is called the fine focus. What these knobs do is they raise vertically and lower vertically the stage. The coarse focus is going to quickly move the stage, and the fine focus will slowly raise the stage. This is all about helping to focus the image to make sure that the image, the specimen that you're trying to view is actually in focus and is as clear as it can be. These are the main components of a compound light microscope.

The coloring is intended for the surfacing. The Art Department produces reference pictures for the Lighting, Matte Painting and Compositing departments in the form of color scripts and color keys.

Relying on the script breakdown, storyboarders produce a series of drawings describing, shot by shot, the action of the film. It is the first version of the movie once edited, the animatic.

Phase contrastmicroscopy

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Production is responsible for the smooth running of the manufacture of the movies. Production supervisors, manager and associate production managers (APM) work closely with the directors, producers and department supervisors. There tasks include the establishment and management of budgets, the monitoring of the teams’ schedules and of the production process.

The VFX department works from Setdress or CFX shots to deliver either to the OCC (pipeline) or compositing department for rendered elements.

Next, we have the actual light source, and so we can go ahead and label this as the light itself. This is where the light will originate from. Then, right here, we have a knob that is going to be controlling the light intensity. We can label this as the light intensity control and then go ahead and cross off light intensity control from our list.

Lightfield microscopy

The IT team is responsible for ensuring the development of the information system (workstations, infrastructure servers, storage servers, network equipment, render farm…) and the availability of hardware and software assets for all employees.

The Character Rigging department receives meshes and shapes from Character Modeling. They actorize the character with a skeleton, deformers and controllers. They also integrate the CFX rig (clothes and hair). They produce an Actor-Ok for each character that will be used for the Layout and Animation.

So here we have an example problem that wants us to complete the following diagram down below by labeling each part of the compound light microscope. Notice over here on the left-hand side we have a word bank with all of the components of the compound light microscope. We have to use this word bank to fill in all of these blanks labeling each piece appropriately. I'm going to start at the very top. What we have here are the two eyepieces where the ocular lens is found. We can label this piece here as the ocular lens and then cross off "ocular lens" from our list.

Confocalmicroscopy

Before we end this video, there is a very important type of bright field microscope called the compound light microscope. The compound light microscope is one of the most commonly used bright field microscopes and uses two lenses, an ocular lens and an objective lens, to increase magnification. We'll talk more about the compound light microscope in our next video. The compound light microscope is one that you're most likely going to use in your introductory biology courses, labs, and microbiology labs. It is important to be familiar with the compound light microscope, which we will discuss more in our next lesson video. But for now, this concludes our brief introduction to bright field microscopes. We will apply these concepts as we move forward. So, I'll see you all in our next video.

The team is responsible for the development and the maintenance of tools that will be either integrated in commercial software (plugins for Maya, Nuke, etc…), or proposed as in-house developed applications, such as the rendering engine or the asset manager.

In this video, we're going to continue to talk about light microscopy by focusing specifically on the bright field microscopes. Bright field microscopes are the most common type of light microscope. As its name implies, it generates a bright background, hence why it's called a bright field microscope. These microscopes are routinely used to examine both stained and unstained specimens, helping to form darker images or objects on a lighter and brighter background. If we take a look at our image below, notice we're focusing on bright field microscopy. On the left, notice that we have some cells undergoing mitosis that are stained. Recall that mitosis is the division of the nucleus in eukaryotic cells. These cells appear darker compared to their lighter and brighter background. This is what we call bright field microscopy. On the right-hand side, we're showing you some chloroplasts within some moss cells. The chloroplasts are not stained here; they naturally have this green appearance. We'll talk more about these chloroplasts later in our course. Notice that the cells and the structures are darker with respect to their lighter and brighter background. These are some examples of bright field microscopy.

In character-heavy shots, the animation of crowds and extras is handled by the Animation Crowd. These animation layers follow the same process as a Main Animation layer: VFX, CFX and Occ.

Compositing includes grading, integration, optical effects (depth of field, flares, camera lens distortion, etc…), effects (NukeX particles), all that while emphasizing on the character animation and the visual narrative.

The lighter also supervises the rendering which is calculated on different layers, in order to ensure that the Compositing department, with who he works in pair, can work efficiently.

What isbright-fieldmicroscopyused for

Both of these knobs can be used by an experienced microscopist to help focus an image and focus the specimen under the microscope. This here concludes this example problem. Now that we've labeled the fine focus, the coarse focus, and the slide holder here, we can cross all of those off. We'll be able to get some more practice applying the concepts that we learned as we move forward. I'll see you all in our next video.

Set Surfacing receives the meshes from the Modeling Set with a first UV unfolding. They work on the shaders and textures. They produce a Shading-Ok for each character which will be used for the final rendering in Lighting.

Differential interference contrastmicroscopy

The VFX department at Illumination Studios Paris not only produces effects (water, smoke, explosions, snow, clouds…), it also produces natural set elements such as trees, grass, vegetation in general, and tools for crowd simulation.

The Technical Layout (TLO) department receives the approved shots from the Layout department. The artists check the conformity of all the elements (characters, sets and props) that appear in the shots to obtain consistent and complete scenes. The TLO also produces the layering in order to cut the shots in different layers of animation for the Crowd Animation department.

The Layout sets up the staging of the scenes (camera axes, rhythm of the main action, sequence of shots…). They work on scenes containing several consecutive shots called Masters. Their movies are regularly sent to the Editorial Department to be integrated into the editing process. The validated Masters then go to the Technical Layout to be prepared for the Animation.

It also develops several tools intended to the artists (Maya, Nuke, Asset Manager…), to the production team, accounting and archives exploitation.

The Visual Effects department is cross-functional, contributing to the production throughout the process, from effects’ previzualisation to some rendering for compositing.

Editorial steps in the moment the first images from storyboard are delivered and operates until the completion phase of the film. Therefore the editor works closely with the director throughout the production process.

Lighting and Compositing deptaments are always working in pair, on the artistic look of the film, the layering and the different technical issues they might encounter.

The Visual Effects department is cross-functional, contributing to the production throughout the process, from effects’ previzualisation to some rendering for compositing.

The Set Dressing Department dress the sets of all shots with props, furniture and vegetation while refining the graphic and dynamic composition of the overall image.

The Occ 1 is a first technical pass. It is a strange looking animation video that allows you to see if everything is where it should be. From there, the same shot goes through four different departments.

Then, over here, we have two knobs. We have a larger knob in the back, and then we have a smaller knob here in the front. The larger knob in red is called the coarse focus, and the smaller knob is called the fine focus. Both of these knobs essentially do the same thing. They both will either raise or lower the stage vertically. The difference between them is the speed at which they raise and lower the stage. The coarse focus will raise and lower the stage much more quickly because it's a larger knob. The fine focus is going to raise and lower the stage much slower.

Character Modeling receives the designs from the Art Dep and makes the meshes and shapes of the characters. These meshes will then be sent to Rigging for acting and to Surfacing for texturing.

Next, we have the actual stage itself. This large square here is the stage where the glass slide containing the specimen is going to be placed. We can label this as the stage. Then, next we have this little clip right here, this clip that is going to hook and hold the glass slide in place. This is what we call a slide holder because it holds the glass slide in place.

Working from a flat surface, the Matte Painting department paints part of the set of the shot while making sure some empty spaces are left within the image in which one or more shots will be integrated.

One major limitation of bright field microscopy is its poor contrast when observing unstained, transparent specimens. These specimens do not absorb much light, making them difficult to see against the bright background. Additionally, staining procedures, which can enhance contrast, may kill the organisms, which is not always desirable. To overcome these limitations, other microscopy techniques like phase-contrast or differential interference contrast (DIC) microscopy are used, as they provide better contrast without the need for staining.

Here is a short description of our production pipeline, in order to show the diversity of departments for which we are hiring.

The Hair Department works on the meshes of the Character Modeling to install the character hairstyles (cut, volume and shading). The shading will then be sent to Character Surfacing for integration into the Shading-Ok.

The first and second assistants are responsible for the importing of elements coming from the other departments. They also publish the editing of sequences and potential changes approved by the director and the editor so that all departments work with updated references.

Darkfield microscopy

The Animation realizes the action of the characters. We distinguish between Animation Main, which deals with the main actors, and Animation Crowd, which deals with the crowds and extras. The animation movies are regularly sent to the Editorial Department to be integrated into the editing process. Once the shot is validated (and very often in the process of finalizing the shot), the VFX team takes the scene in hand to install the special effects. Next, Set Dressing finalizes the layout of the set elements to perfect the composition of the frame and CFX verifies the clothing and hairstyle simulations. The scene is then exported for a first verification rendering: the Occ.

Next, what we have here is labeling these objective lenses, which recall are rotatable lenses that have different magnifications. We can go ahead and label these as the objective lenses and then cross off "objective lenses" from our list.

All the designs will provide a basis to the characters and sets&props modeling departments. Concerning the sets, the Art Department will also produce Maya scenes in order to establish the volumes for the implementation of the sets.

The coarse focus and fine focus knobs on a compound light microscope both adjust the stage's height to bring the specimen into focus, but they do so at different speeds. The coarse focus knob, which is larger, moves the stage quickly and is used for initial focusing. The fine focus knob, which is smaller, moves the stage slowly and is used for precise, fine-tuning adjustments. Using both knobs allows for clear and sharp imaging of the specimen.

The total magnification of a compound light microscope is calculated by multiplying the magnification of the ocular lens by the magnification of the objective lens. The ocular lens typically has a magnification of 10x. For example, if you are using a 40x objective lens, the total magnification would be calculated as follows:

Occ 2 is the second technical pass that serves as a final verification of the animation before exporting to the Lighting department.

Implicated in the creative process from pre-production, the Character Surfacing also provides a technical and artistic oversight throughout the production process.

An illustrator-graphic designer is also part of the team. His role is to design visuals for posters, product packaging, shop signs, user interface designs (control rooms, dashboards, etc…) that appear in the sets of animated feature films currently in production.

Bright field microscopy is a common technique in light microscopy that produces a bright background, allowing for the examination of both stained and unstained specimens. It works by passing light through the specimen, which is then magnified by two lenses: the ocular lens and the objective lens. The light that passes through the specimen forms an image that is darker than the bright background, making it easier to observe cellular structures. This method is particularly useful for stained specimens, as the contrast between the stained structures and the bright background is enhanced.

The VFX department works from Setdress or CFX shots to deliver either to the OCC (pipeline) or compositing department for rendered elements.

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Compositors put together the layers coming from lighting and matte painting with the software Nuke, and give the final artistic look to the image, working closely with the director and the artistic director.

Part of the development of the project along with script writing, concept art lays the foundations of our animation design by producing an idea that aims to capture the visual feel of the project, and serves as a point of reference throughout the entire creative process.

The Sets & Props Modeling creates the meshes of the sets and props based on the designs and Maya scenes provided by the Art Department. Those meshes are then givent to the Rigging to be actorized and to the Surfacing to be textured.

The Lighting Department works closely with the R&D Department for the development of the rendering software, by adjusting it to the newest technologies and to the specific needs of the film, sequence or shot.

Finally the Lighting team masters the technical aspects of the rendering software, as they control image quality and rendering duration.

At last, alongside the Compositing and Surfacing Departments, the Lighting Department ensures the rendered movie quality, by refining and correcting all the visual details of each shot.

The Visual Effects department is cross-functional, contributing to the production throughout the process, from effects’ previzualisation to some rendering for compositing.