{"id":40112,"date":"2021-05-11T09:04:43","date_gmt":"2021-05-11T09:04:43","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&p=40112"},"modified":"2024-09-15T16:22:36","modified_gmt":"2024-09-15T16:22:36","slug":"how-pixar-uses-hyper-colors-to-hack-your-brain-source-wired","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/how-pixar-uses-hyper-colors-to-hack-your-brain-source-wired\/","title":{"rendered":"How Pixar Uses Hyper-Colors to Hack Your Brain | Source: Wired"},"content":{"rendered":"\n
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\"In
In Pixar Animation Studios\u2019 \u201c22 vs. Earth,\u201d new soul 22 (voice of Tina Fey) enlists a gang of five other new souls in her rebellious refusal to go to Earth. But her cohorts\u2019 activities lead to unexpected results. Set before the events of Disney and Pixar\u2019s \u201cSoul,\u201d \u201c22 vs. Earth\u201d is directed by Kevin Nolting and produced by Lourdes Alba. Cr: Disney\/Pixar<\/figcaption><\/figure>\n\n\n\n

\u201cThe scene wasn\u2019t working. It was a moment from the Pixar film Coco<\/em>, still in production at the time \u2014 the part when the family of Miguel, the main character, finds out he\u2019s been hiding a guitar. It takes place at twilight or just after, a pink-and-purple-tinged time of day everywhere, but even more so in fictional Pixarian Mexico. And Danielle Feinberg, the photography director in charge of lighting the movie, didn\u2019t like it. She pressed Pause with a frown.\u201d <\/h3>\n\n\n\n

Source: Adam Rogers, Wired<\/h4>\n\n\n\n

AT A GLANCE:<\/h2>\n\n\n\n

Over at Wired<\/em>, Adam Rogers<\/a> walks us through the complex process for lighting computer animated films in an excerpt from his forthcoming book, \u201cFull Spectrum: How the Science of Color Made Us Modern<\/a>,\u201d available May 18 from HMH Books & Media.<\/p>\n\n\n\n

\u201cLighting a computer-rendered Pixar movie isn\u2019t like lighting a film with real actors and real sets,\u201d Rogers observes. \u201cThe software Pixar uses creates virtual sets and virtual illumination, just 1s and 0s, constrained only by the physics they\u2019re programmed with.\u201d<\/p>\n\n\n\n

Lights, pixels, action, indeed. \u201cReal-world cameras and lenses have chromatic aberration,\u201d Rogers continues, \u201csensitivities or insensitivities to specific wavelengths of light, and ultimately limits to the colors they can sense and convey \u2014 their gamut. But at Pixar the virtual cameras can see an infinitude of light and color. The only real limit is the screen that will display the final product. And it probably won\u2019t surprise you to hear that the Pixarians are pushing those limits too.\u201d<\/p>\n\n\n\n

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