Doing this allowed you to cut the radar easily (Fig.09) and put in the radar cover (Fig.10).
Shaders, Lights and Rendering – Basic Theory
Linear Work Flow (LWF)
The LWF is an efficient and excellent work flow, especially for team work. Gamma Correction is the most special feature of LWF obviously. Although it is hard to get started with it (or learn it), it's worth it. You should know that whatever the com
It should be note that whatever a computer's capacity, it will always just compute (1 + 1 = 2, 2 x 2 = 4). When you look at a light, if the brightness increases one level, the energy increases one level too. We call this Linear Exposure. But your eyes are like a camera lens; when you increase the brightness by one level then you also need to double the energy – it is Logarithmic Exposure.
Gamma is a word that confuses people. It's used in so many places to describe a lot of things. But here, gamma is a bridge between the computer's linear exposure and man's logarithmic exposure. It is an important role in texturing and rendering, attenuation of light, HDRI, post processing and so on. There are many theories about LWF; if you want to learn more, I recommend the HDRI Handbook by Christian Bloch. Personally, I think LWF is the best way to render an IBL scene (Fig.11).
Color Depth is a complex concept. To understand it more easily you can say it is the number of color. An 8-bit image (like a JPEG) can describe 2^8=256 colors every channel. A 32-bit image (like an HDRi) can describe 2^32=4294967296 colors every channel. The more colors and details you have, the more room for post-processing. I use a 16-bit PNG image usually. It offers a good balance of quality, file size and soft support.
It's important to note that the depth is per-channel depth. When I say "a JPEG is an 8-bit image", this means that every channel of this jpg is 8-bit. A 32-bit TGA is an 8-bit image too, because a TGA has four channels, and each channel is an 8-bit channel: 4 x 8=32. It is just a different count method, so don't be confused .Usually, HDR and EXR format are the real 32-bit images.
Usually we use R/G/B 0-255 to describe all 256 colors, as it is enough in normal situations. But if you want to get a color between 254 and 255, this method won't do anything. Float could be helpful in this situation as it allows you to get any color you want. And in fact, float has a important role in the compute and HDRI.
In laymen's terms, float is decimals. If you want to describe a color between 254 and 255, you can mark 254.50. Of course this is an inexact sample; in fact, the range of 0 (black) and -255 (white) in float is 0.00 (black) to 1.00 (white), and the range of 254-255 (one grayscale) in float is 0.004. So, the color that you want is 0.998; you can get a nonexistent color in common 0-255 colors.
We can get a greater range of accuracy of colors by using float, which is its main advantage. You can also describe a color that is brighter than "White (1.00)" by setting the value to more than 1.00. This is a secondary advantage and it is very useful in HDRI and composite.
Have you ever noticed that the default value of a default light is 1.0? It is a float value. It means that a 1.0 light and a 1.0 object will output a 1.0 result. Float can be anywhere (Fig.12 – 13).