![]() Red: love, danger, anger, passion, blood.So, how can we begin to communicate themes, intent, and emotion? Well, we can examine colors that tend to be associated with specific themes, feelings, and concepts, and we can call these “color associations”. Red is stimulating, exciting, and often represents strong emotions. For example, when many people see a red octagon they immediately think “stop”, because that’s a common road sign in the US. Within North American culture, there are many colors that have broad or even very specific meanings understood within a particular context. It’s important to understand that we often approach color through the lens of our own cultural background. Creating an aesthetically pleasing visual experience.Communicating an emotional or narrative element from the artist.The primary functions of color for audiences include: Now that we understand the basics of color mixing, we can discuss using color to light a show. What’s important is knowing how the console is talking to your fixtures and how to produce the color you want. Whether you choose to conceptualize and program the colors as RGB, CMY, or HSL values doesn’t matter. Various control schemes can look different in terms of stage output depending on how they’re programmed, and the fade times involved. Overall, it’s important to understand how your console deals with these color attributes. Some lights allow you to change their control modes between RGB and CMY or other control modes. Many consoles use additive or subtractive mixing to allow control of color – you’ll have a control channel for each of the three primary colors, depending on what kind of light you’re using. Note that “brightness” in this sense is not the same as the dimmer of the light. A luminosity of zero is complete darkness and a luminosity of 100% is full brightness or full color. Luminosity (brightness) describes how bright or dark a hue is. Saturation describes how much of the pure color we want, from pure saturated color all the way to white. Hue describes the point on an imaginary color wheel. ![]() Hue, Saturation, Value (or Luminosity) Credit: Wikipedia, CC BY-SA 3.0 ![]() Gels are also an example of subtractive color mixing but are used less often since the rise of intelligent fixtures.Īnother way of controlling color has nothing to do with how the light produces color, and instead asks the user to think about color in terms of hue, saturation, and luminosity-abbreviated as HSL, or HSI, or HSV-but these terms are all closely related. If we then place a yellow filter over the cyan, we will be left with only the green since yellow is a combination of red and green. For example, cyan removes all wavelengths except for blue and green from the spectrum. Each of these filters removes wavelengths from the white light source. Generally, the colors chosen to create the white light are cyan, magenta, and yellow (CMY). Intelligent lighting that uses subtractive mixing starts with a white light source from an arc lamp, an array of white LEDs, or an incandescent filament and removes wavelengths from that white source, resulting in a color. Subtractive mixing starts with a white light source and uses colored filters to remove wavelengths from the spectrum. But for the purposes of color theory, you can think of additive mixing as consisting of red, and green, and blue. Most LED-based wash lights use additive RGBW mixing (The W stands for white) to produce their colors. Often, we add a white or amber emitter in addition to RGB to expand our ability to color mix. We can add red and green together to make yellow, green and blue together to make cyan, and red and blue together to make magenta. When we talk about additive mixing, we generally refer to three “primary” colors of additive light: red, green, and blue (RGB). Two of the most common ways consoles do this are additive and subtractive color mixing.Īdditive mixing works by adding various wavelengths of light together to produce additional colors. When we talk about controlling color, we are talking about how lighting consoles control color. Lighting designers control these wavelengths to create a full spectrum of color. The perception of color happens when we stimulate one or more of the three color-sensitive cells in our eyes, which come in three varieties that respond to red, green and blue wavelengths. Color is a phenomenon that our brain experiences when our eyes are stimulated by certain wavelengths of light.
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