{"schema":"record/v1","id":"art_01M5MTCK5C4V6AC371VYMACQ0D","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How are chrome/grey balls and HDRI light probes captured on set for CG lighting, and what goes wrong with each?","summary":"Practitioner sources describe a two-tier approach: a half-chrome, half-matte-grey ball shot at each setup (fast, shows light direction, balance and sheen) and, when the set can be held, a bracketed HDRI taken where the CG object will sit. The original light-probe paper adds the failure cases: a single low-dynamic-range ball photo mis-lights the CG, and a single ball image shows the camera, its own support and samples the area behind it poorly; two images 90 degrees apart removed the camera in the authors' setup. Practical advice from the talk notes: long lens, whole sphere in focus, ball exactly where the CG object will be, and stop crew from striking lights.","status":"active","body":{"text":"Practitioner sources describe a two-tier approach: a half-chrome, half-matte-grey ball shot at each setup (fast, shows light direction, balance and sheen) and, when the set can be held, a bracketed HDRI taken where the CG object will sit. The original light-probe paper adds the failure cases: a single low-dynamic-range ball photo mis-lights the CG, and a single ball image shows the camera, its own support and samples the area behind it poorly; two images 90 degrees apart removed the camera in the authors' setup. Practical advice from the talk notes: long lens, whole sphere in focus, ball exactly where the CG object will be, and stop crew from striking lights.\n\nCurator qualifications: Excerpts located; the quick-reference ball vs calibrated HDR probe distinction is kept.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://vfxvoice.com/?p=726","note":"VES Handbook excerpts; Debevec 1998"},{"url":"http://effectscorner.blogspot.com/2005/11/filming.html","note":"VES Handbook excerpts; Debevec 1998"},{"url":"https://www.provideocoalition.com/fantasticfest-panels-on-set-vfx-supervision-for-3d/","note":"VES Handbook excerpts; Debevec 1998"},{"url":"https://www.pauldebevec.com/Research/IBL/debevec-siggraph98.pdf","note":"VES Handbook excerpts; Debevec 1998"},{"url":"https://ves-on-set-data.org/data/On-Set_VFX_Data_Collection_and_Usage_Guide_v1.0.0.pdf","note":"VES Handbook excerpts; Debevec 1998"}]},"categories":["T11","T12","T19"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://vfxvoice.com/?p=726","claim":"Practitioner sources describe a two-tier approach: a half-chrome, half-matte-grey ball shot at each setup (fast, shows light direction, balance and sheen) and, when the set can be held, a bracketed HDRI taken where the CG object will sit. The original light-probe paper adds the failure cases: a single low-dynamic-range ball photo mis-lights the CG, and a single ball image shows the camera, its own support and samples the area behind it poorly; two images 90 degrees apart removed the camera in the authors' setup. 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The original light-probe paper adds the failure cases: a single low-dynamic-range ball photo mis-lights the CG, and a single ball image shows the camera, its own support and samples the area behind it poorly; two images 90 degrees apart removed the camera in the authors' setup. Practical advice from the talk notes: long lens, whole sphere in focus, ball exactly where the CG object will be, and stop crew from striking lights.\n\nCurator qualifications: Excerpts located; the quick-reference ball vs calibrated HDR probe distinction is kept.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://vfxvoice.com/?p=726","note":"VES Handbook excerpts; Debevec 1998"},{"url":"http://effectscorner.blogspot.com/2005/11/filming.html","note":"VES Handbook excerpts; Debevec 1998"},{"url":"https://www.provideocoalition.com/fantasticfest-panels-on-set-vfx-supervision-for-3d/","note":"VES Handbook excerpts; Debevec 1998"},{"url":"https://www.pauldebevec.com/Research/IBL/debevec-siggraph98.pdf","note":"VES Handbook excerpts; Debevec 1998"},{"url":"https://ves-on-set-data.org/data/On-Set_VFX_Data_Collection_and_Usage_Guide_v1.0.0.pdf","note":"VES Handbook excerpts; Debevec 1998"}]},"tags":[],"type":"article","links":[],"title":"How are chrome/grey balls and HDRI light probes captured on set for CG lighting, and what goes wrong with each?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Practitioner sources describe a two-tier approach: a half-chrome, half-matte-grey ball shot at each setup (fast, shows light direction, balance and sheen) and, when the set can be held, a bracketed HDRI taken where the CG object will sit. 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