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why do I say something like this? because if you think about the advertisements trying to hack my brain, this one looks so innocent... please don't hesitate to analyse those !
Is the dark dark to bright bright the same trick iPhones use to show whiter than white highlights in photos? There was an article about this on HN a while back, can’t seem to find it now.
- Pixar employs precise control of a movie's colour model to convey emotion. Usually, this consists of a specific palette of hues and shifts in brightness and saturation. (Not very surprising)
- This colour control is starting to hit technical and physical boundaries: Commercial projectors cannot represent all colours as accurate as Pixar's artists would like.
- Two approaches how this might be solved in the future are: Brighter projectors (I think?) and making clever use of afterimages and the biology of human color perception: They slowly ramp up intensity of a particular colour, matching the speed which colour receptors desensitize to that colour. Then they quickly ramp down the colour intensity and have viewers experience an intense afterimage of the complementary colour, possibly more saturated than the projector would be able to generate by conventional means.
Edit: Just noticing the poster’s username…how apropos!
So, the takeaways I got, despite Pixar praise and the usual Wired hype: - Pixar employs precise control of a movie's colour model to convey emotion. Usually, this consists of a specific palette of hues and shifts in brightness and saturation. (Not very surprising) - This colour control is starting to hit technical and physical boundaries: Commercial projectors cannot represent all colours as accurate as Pixar's artis…
I haven't read about projectors using the perceptual tricks you described: it seems like POV-based approaches would have a distracting strobe effect?
Just like with CMYK prints, if you want to render something "out of gamut" (colors that aren't representable with the display), you need a different display.
This is typically done in print by adding spot colors to the color separations. Similarly, displays that add color emitters that aren't just blue, red, and green can render beyond sRGB. I believe some "quantum dot" displays have yellow and pink emitters, for example.
Earlier quoted context omitted.
https://en.wikipedia.org/wiki/Impossible_color
That is not what the article is about though.
So what if, Glynn proposes, a scene in a movie added, subtly, light in a very specific wavelength of green? Then just kept ramping up, more and more green—and, at a key moment, the screen dropped all the green out at once. The movie would induce the complementary color as an afterimage. You'd imagine you were seeing a specific red, not projected on the screen but as a neurophysiological response to stimulus. And if you pick the precise wavelength, “you could actually cause someone to perceive a color that they could never otherwise see. Like, there's no natural way for you to have the perception of that color.”
That color wouldn't be onscreen. It wouldn't be anything a projector could cast or a computer could generate. It'd be a function of pure cognition, different for every viewer, existing only in the mind, then fading to nothingness. Which is true for all colors anyway, when you think about it.
Earlier quoted context omitted.
That is not what the article is about though.
This is exactly where the article ends: So what if, Glynn proposes, a scene in a movie added, subtly, light in a very specific wavelength of green? Then just kept ramping up, more and more green—and, at a key moment, the screen dropped all the green out at once. The movie would induce the complementary color as an afterimage. You'd imagine you were seeing a specific red, not projected on the screen but as a neurophys…