4EvrYng wrote:Thank you! But how I can use that to measure and visualize light falloff in the recorded frame? I guess I am looking for "Cliff's notes version / approach for dummies".
Did you read it? Scopes are enormously useful for frame-by-frame color/luma matching problems. The standard advice in the 1970s and 1980s was: "match the scopes exactly, and the picture will generally be matched as well." This is especially true for exposure variations. Best case, you can reduce the problem significantly, to the point where it's practically unnoticeable.
Peter Cave's scope shots above illustrate the problem perfectly: make the line FLAT, and there should be no visible exposure change. I've dealt with this kind of thing in car beauty shots against white seamless backgrounds, and even when they're going to use VFX to make the white background perfect, I try to smooth it out in advance to help reduce the time and effort for the composites done by other people.
BTW, if the camera is moving through 3-dimensionsal space -- like a dolly or crane move -- this will be exponentially more difficult.