Image colour lecture
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lecture on colour theory and cultural meaning of colour in art, photography and film
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Image colour lecture
- 1. C O L O U R
- 7. MONOCHROMATIC Emphasize form, light and texture
- 14. ANALOGOUS Little energy - sit easily together without tension.
- 17. COMPLIMENTARY extreme chromatic contrast and LOTS of energy
- 27. TRIADIC
- 30. TETRADIC
- 93. Any colour space (film, computer graphics, print etc) is a representational system that is designed to mimic our human perception of vision Accurate colour measurement begins with measure of light intensity - linear to light (not linear to our perceptual system) These values are then subjected to a ‘Gamma Correction’ so that the image mimics the perceptual response of our eyes Human vision is more sensitive in the ‘shadows’ than in the ‘highlights’
- 94. Other Colour Spaces CMYK H RGB Colour Space Additive
- 95. Other Colour Spaces CMYK H CMYK Colour Space Subtractive
- 96. RGB - 8 bit colour space eg. Photoshop 3 x 8 bit colour channels (3 bytes) 0 - 255 codes per channel (0, 0, 0) = black (255, 255, 255) = white over 16 million colours represented
- 97. CIE Colour Space
- 98. Colour Gamut RGB Colour Space
- 100. Trichromacy Eye senses colour through rod and cone cells Fovea - responsible for sharp central vision Cone cells - concentrated at the fovea - 6 million cone cells in a human eye - three types of cone cells - Red, Green and Blue colour receptors (or long, medium and short wavelengths of light) The brain combines the information of each of the receptors to create perception of colour Rod Cells - more sensitive to light - 120 million rod cells in a human eye - concentrated at edges of retina - 100 times more responsive than cones so used for night vision - have little role in colour vision
Editor's Notes
- Color is an essential storytelling tool It acts at the subconscious level.
- Monochromatic colors emphasize form, light and texture. It gives the emotional appearance of 'truth'
- Color in many current games border on monochromatic, reflecting a need for the emerging medium to break beyond it's stereotype and into mainstream art.
- Analogous colors don't have much energy, they sit easily together without tension.
- Pure complimentary colors have extreme chromatic contrast and LOTS of energy.
- Triadic
- TETRADIC
- Red can symbolize power, anxiety, lust Heightened emotional states
- Power Journey into adulthood for Dorothy
- Energy
- Sex
- Warmest of the three films, red signifies romance.
- Red eventually ended up being an indicator that a crew member was going to die.
- Yellow can signify a warning
- Warning
- Exuberance and youth Symbolizes Dorothy's journey
- Exuberance and youth Symbolizes Dorothy's journey
- Obsession
- Obsession
- Idyllic sunlight
- Supposed to be Gladiator – Maximus' happy place.
- calm
- cool
- Serene
- Blue is cool and isolating, like the character who tries to isolate herself.
- Powerlessness in Tootsie compare this with....
- Powerlessness
- Powerlessness
- Powerlessness
- Powerlessness
- Illusion – eyes wide shut
- White represents equality. White can be seen as a balance, a zero point, without tension.
- While Mr. Zhang and Mr. Doyle insist the choice of colors was aesthetic, not symbolic, the coloration itself becomes the movie's theme. "Part of the beauty of the film is that it is one story colored by different perceptions," Mr. Doyle says. "I think that's the point. Every story is colored by personal perception."
- The filmmakers decided to stage the climax of the second story on a magnificent lake in the Jiuzhaigou cq region of China, and the color of the water, they say, inspired them to make this section blue.
- Having decided to shoot a key part of the third tale in a desert near the border with Kazakhstan, the filmmakers picked the white of the desert at noon for the costumes in this section.
- Storaro says green is the color of knowledge. Well, I've done many films where green was the color of memory, and that's just a personal choice. Actually, in `Hero' we used green for the flashbacks because we ran out of colors. We'd done all the other stuff. So we had the red, we had the blue, we had the white — there was only green left, basically. You're not going to do anything in orange or pink."