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Take the scene of the old ghost of Chicharrón dying without remembering the land of the dead. It’s a sequence of tears, but it’s still as wide as the color palette (for now it turns the moon blue at this point). Instead of removing the color, the scene is less bright, not illuminated by virtual neon or bright orange cempasúchil flowers but just a couple of lanterns. “That was the way we were supposed to do it Coco,“Feinberg says, ‘Because it was a lively and colorful world, but we had to spark that emotion.’
Control the lighting, control the colors, control the feelings. That’s what filmmaking is all about. In this we are writing, Pixar’s last 23 films – from the 1995s Toy Story—They have combined $ 14 trillion worldwide, which is also not in line with inflation. Kids like it; they like adults. Even locked in the world of cinema, Pixar’s latest film, Arima, Earned $ 117 million worldwide.
But let me tell you a secret: when it comes to getting emotions out of color, Pixar cheats.
In a very a special projection room at Pixar’s Emeryville, California headquarters is a very special screen. It’s not big, maybe 10 feet wide, and sits in front of a room, dominated by a huge control panel lined with five smaller computer monitors and at least two keyboards. The ceiling is covered in felt, and the square rugs are black instead of the usual Pixar gray to keep light pollution to a minimum.
Explaining what comes next requires giving bad news. Do you remember the first colors you learned in elementary school? Red, blue and yellow, right? So yes, it is wrong. You should have mixed them in all other colors, but that never worked, right? The blue and yellow were supposed to be green, but you have brown. Red and blue were supposed to turn purple, but … you have brown.
Because that’s partly because deductible the colors reflect some wavelengths of light and absorb others. Mix and absorb more and you will reflect less. Things get darker. If you don’t handle pigments and blends carefully and start with cyan, magenta, yellow and black primaries, you’ll love CMYK from designer magazines.
It’s also wrong, because often people confuse light from a source like a TV or a star when they emit light. These primary schools are not the only ones that are possible. But Newton was also a little confused about this. His primaries are the exact basic colors he identified in the spectrum projected from a window to the wall in 1665, pierced in his mother’s house, while a pandemic was extinguished at his university. You can relate, right? Newton incorporated sunlight into whitish rainbow colors and chose to draw in seven: red, orange, yellow, green, blue, indigo, and violet. He called this the spectrum, but of course this categorization leaves a lot to be desired, with “extraspectral” colors like pink or purple or, yes, brown. (Brown is just dark yellow. Shh.)
If you’re reading this on screen instead of on paper, you’re seeing a chain of light created by red, green, and blue pixels — another primary set, not coincidentally at wavelengths similar to color receivers. your eyes are on you. A little more or a little less of each, and as is the case with CMYK pigments (and white light or white paper), you can make any color that the human eye can detect. The fact is that the colors we see are not really mixed from a list of available ones, like buying them at a paint store. It is a continuum of light and reflection, interpolated by the biological sensors in our eyes and the completely incomprehensible flesh of thought behind them.
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