![]() ![]() ![]() 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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