That's “luminance,” or sometimes “intensity.” Color that's made of light is different from color that's light bouncing off a surface, changed not only by how that light reflects or refracts but also by whether the surface is colored itself, maybe by a pigment. It needs the amount of light you're talking about. It needs the amount of color, from pastel to saturated. The real map needs more dimensions than that. You still won't be capturing everything that comes together to mean a color. Go ahead and map those electron volts and nanometers for red, plus the ones for all the other colors you can name, into a straight line, or even wrap them into a circle as the physicist Isaac Newton did. If we both agree-and let's agree to agree-that “red” is light with a wavelength of somewhere above 620 nanometers, well, waves of what, exactly? (It's fluctuations in electrical and magnetic fields, as if that helps.) Or we could agree that “red” light is made of subatomic particles called photons, the irreducible quanta of energy-1.8 electron volts, to be more or less exact. But here goes: First of all, you have to forget the dorm-room philosophizing about whether you see the same red that I do even though we both call it “red,” man. If talking about music is, as someone once said, like dancing about architecture, then talking about color is like doing a trapeze act in zero-g on a space station. “And I asked the lighter to put a green fluorescent light in the kitchen.” We were at the point where we were going to show it to the director,” Feinberg says. And even though this critical moment in Miguel's house looked lovely, it didn't look right. To prepare, Feinberg had gone on multiple trips with the team to Mexico, taking lots of pictures and notes on the lighting and colors she saw there. Of course the people at Pixar still have to make all the choices that'll produce the final outcome. And it probably won't surprise you to hear that the Pixarians are pushing those limits too. The only real limit is the screen that will display the final product. But at Pixar the virtual cameras can see an infinitude of light and color. Real-world cameras and lenses have chromatic aberration, sensitivities or insensitivities to specific wavelengths of light, and ultimately limits to the colors they can sense and convey-their gamut. The software Pixar uses creates virtual sets and virtual illumination, just 1s and 0s, constrained only by the physics they're programmed with. Lighting a computer-rendered Pixar movie isn't like lighting a film with real actors and real sets. And Danielle Feinberg, the photography director in charge of lighting the movie, didn't like it. 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. It was a moment from the Pixar film Coco, still in production at the time-the part when the family of Miguel, the main character, finds out he's been hiding a guitar.
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