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The YCbCr color space, when sliced into square planes, allows for the display of all hues at an isoluminant level. It also offers the convenience of mathematically representing color on these planes in the form of linear coordinates.
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Animated films present a unique set of challenges and questions to scholars examining
films from a cognitive perspective. When the confines of the real world don’t exist as they do in
live action films, the filmmaker is confronted with creating the entire narrative space from
scratch (Buchan, 2011; Buchan, 2006). How do animators manage this seemin...
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Context 1
... we considered hue using the YCbCr color space, which meets these important criteria. This color space takes the form of a rectangular prism on a diagonal axis (see Figure 3). This color space is also named for its axes in the space: Y (on the vertical axis) refers to luminance, while Cb and Cr refer respectively to chrominance-red and chrominance-blue. The chrominance axes plot complementary colors from the color wheel (red-green and blue-yellow, respectively) on opposite rectangular planes of the prism. The distinct advantage of YCbCr is having luminance on its own axis; in this way, one could take a square slice through the prism to get a square containing all colors at an isoluminant ...
Citations
... Everyone in this movie is using different color palettes, which helps to uncover personality and struggles of each character. According to Brunick and Cutting (2014), scientific findings find that colors influence how cognitive setting is used in art and animation. It is also supported by Kauppinen-Räisänen and Jauffret (2018), they stated that semiotics distinguishes itself by viewing communication as a process determined by the interrelationship between a message and its recipient. ...
The aim of this study is to observe how colors depict expectations and pressures within a family. Encanto is an animated musical movie that describes hierarchy in a family which inevitably triggers a hierarchy of expectations and pressures from Abuela Alma, the oldest member of the Madrigal family. She treated her children and grandchildren as her own expectation and desire for the sake of the continuity of the family’s descendants. This study belongs to a descriptive qualitative study where observing, recording, and analyzing the data are applied. Roland Barthes’ theory about denotation and connotation will be used to analyze the meaning of the colors attached to each character of this movie. The various colors presented are magenta, baby blue, tiffany blue, lilac, white, yellow, faded green, scarlet, black, and bluish colors. Each color symbolizes characters, the hierarchy of expectations, and the kinds of pressure in this family. The colors and patterns of each individual's outfit, according to the explanation of the contrasts between the characters on each side, indicate the degree of Abuela's influence over them, as she is the person in charge of the family hierarchy. Abuela, aware of the community's dominance of magical power, tries to keep it in her family, resulting in a hierarchical disposition in her family based on her perspective of how their magical ability benefits others.
... Animasi dan komposisi warna memiliki keterkaitan yang sangat penting. Penggunaan warna yang tepat dapat berpengaruh dalam bidang seni dan animasi (Brunick & Cutting, 2014). Dengan persentase sebesar 85% tersebut, menunjukkan bahwa media pembelajaran audiovisual berbantuan aplikasi Powtoon yang dikembangkan memiliki komposisi warna yang serasi. ...
Aim of this research is to explore validity and students’ response to learning media with powtoon on electrolyte and non-electrolyte topic. Research method is 4D development with define, design, develop dan disseminate process. Nevertheless, this research only toward develop step because of time limiting. This research uses the instruments of interview and content and media validity. Data analysis shows analyze qualitative data from interview result and quantitative data form students’ response questionnaire by calculate this average. Content validity result shows average of 90% on well category. Media validity result shows average of 95,7% on well category too. Students’ response on small scale test shows average of 82,08% on well category. Based on these results, learning media valid to be used as learning media also could be use to support development of similar media on another research.
... to generate the colour corrections to each components of the image such as individual object or character. [3] To create a natural look on the background, a more muted colour was used to complement in a Disney's cel animated. ...
... The relative responses to light spectra by these cells are what generate our ability to see and distinguish between colors [2:1]". The phenomenon of color perception plays an important part in cinema: it can serve the storytelling process by clarifying the narrative, explaining character traits or room temperatures, focusing the viewer's attention on a particular element and generally immersing the spectator deeper in the story world [2,3,4]. Animation creators in particular have the chance to make deliberate and calculated color choices that will serve the narrative and their vision, since they are not confined to real world conditions. ...
... It was already expected that the bigger sample would show more variety. 2 One male, 25 years-old, and three female, aged 20, 24 and 25; all were former art students with a basic understanding of color theory. This was a preliminary test to compare people's immediate perception of color with the colors chosen to be represented on the simplified color scheme of each protagonist. ...
This paper presents the findings of a work in progress, regarding the differences in the color schemes existing in male and female protagonists of mainstream animation film. It shows the intuitive process of how data was collected and transformed into visuals that helped clarify the interpretation of results. We concluded that male character design showed more color variety, an abundance of darker colors and a scarceness of pink, when compared to female character design that showed a predominance of blues and pinks and an overall lighter palette.
Stereotypical representations about what scientists do, look like, and how they behave are cognized in early childhood and refined throughout life, through direct or indirect contact with the STEM communication climate, whether it be direct interactions with scientists, science education, communique, or entertainment. Popular media (TV) plays an important role in influencing our ideas of science by constructing images of social science reality. What has rarely been discussed in these contexts is what kind of scientific stereotypes are reinforced or challenged in popular TV shows for young audiences, particularly regarding female scientists. Using qualitative textual analysis, this paper examines how female scientists are portrayed through humor (and what kind of humor) in two popular animated entertainment series for children— Spongebob Squarepants and Adventure Time —and how their portrayal reinforces or challenges gender stereotypes in cultural representations of science. The analysis revealed that science was portrayed as humorously framed non-science, often represented by exaggerated ever-computing datasets on larger-than-life computer screens that would rival NASA. However, the representation of the female scientists in these animated TV comedies was steeped in archaic stereotypes that, surprisingly, were barely associated with humor: it was the science, not the female scientist per se , that was comic. Interpreting these findings in light of science communication research, gender studies, popular entertainment studies and humor studies, this article adds new perspectives to our understanding of humor in science narratives and the public imagination, and provides new insights for the study of the intangible aspects of science in culture.
italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">Thanks to the advancements in cinema and display technologies wider color gamuts are now possible. These technologies can support and reproduce highly saturated color content. Bear in mind, the ability to produce colors with an extremely high chroma component is strictly a capability of the technology and not a necessity that the image content must follow. In short, the decision to utilize the expanded gamut available in advanced cinema technologies is at the discretion of the creative forces behind the project. There are a number of different factors that can contribute to the creative color decisions made for motion pictures, with the primary factor being the esthetic nature of the content produced. Through creative-preference assessments of saturation adjustments in various image contents, the value of the expanded color gamut in motion picture mastering was assessed. Three images of comparable chroma histograms were utilized in the study to feature human skin tones, animated characters, and natural scenery, respectively. Upon being adjusted, each image was rendered with color content outside the boundaries of the Digital Cinema Initiatives (DCI)-P3 gamut. A two-alternative-forced-choice psychophysical study was conducted to estimate observer preference of the saturation levels in each image. From the observers’ selections, the reaction to the expanded image saturation in the three images was plotted and assessed for statistical significance. Through this study, it was found that there is a preference to incorporate colors exclusive to wider color gamuts that extend past the boundaries of International Telecommunication Union-Radiocommunication (ITU-R) Recommendation BT.709 and DCI-P3. It was also confirmed that the medium in which the content was generated influences the level of saturation preferred. Overall, this research provides a look into how technical capability and artistic vision can be connected
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This work outlines a new methodology for film analysis based on the radical materialist thought of Baruch Spinoza, re-evaluating contemporary cognitive media theory and philosophical theories on the emotional and intellectual aspects of film experience.
Sticchi’s exploration of Spinozian philosophy creates an experiential constructive model to blend the affective and intellectual aspects of cognition, and to combine it with different philosophical interpretations of film theory. Spinoza’s embodied philosophy rejected logical and ethical dualisms, and established a perfect parallelism between sensation and reason and provides the opportunity to address negative emotions and sad passions without referring exclusively to traditional notions such as catharsis or sublimation, and to put forth a practical/embodied notion of Film-Philosophy. This new analytical approach is tested on four case studies, films that challenge the viewer’s emotional engagement since they display situations of cosmic failure and depict controversial and damaged characters: A Serious Man (2009); Melancholia (2011); The Act of Killing (2012) and Only Lovers Left Alive (2013).
We improve on the widely used color palette technique in the context of anime-style rendering. We introduce an event--driven method to dynamically change color rendition in such rendering scenarios. Changes can happen over time or over space and are triggered by pre-defined events. Such events cause the selection of a particular color palette and node--based "strategy trees" help artists to plan and to visualize resulting look changes interactively. As an optimization, we rely on dynamic shading language code generation to prepare colors before rendering, avoiding the limits of render--time methods.
