In this essay, I have sought to examine some of the potential relationships found between the area of science and topics on color and emotion and the tendency of digital cinema to develop color models with a strong visual and sensory impact. These phenomena are, in fact, shaping a new kind of sensitivity toward color. The spread of this knowledge provides new knowledge and cognitive schemata on color which contemporary technologies are constantly required to address.Ĭonsequently, it is equally important to study the forms and processes through which visual media are able to creatively construct this same knowledge. It has, therefore, become important to question to what extent the cultural success of neuroscience currently helps to rethink the wide array of theories, knowledge, and practices on the relationship between color and emotion. Indeed, the findings of neuroscience take on a new and potentially very fruitful approach to the question of the emotional impact of color on the viewer. In light of this change, this contribution has sought to observe that the subject of color in audiovisual products, such as films and advertising shorts, may be reconsidered in the light of a new integration between aesthetic, scientific, and technological disciplines.
#Scientific color machine full
The advertising industry has taken full advantage of this possibility, and this has become a central area for technical and expressive experiments, which for several years now, have become commonly used in film and other visual media. Thanks to digital color correction, color has become an element which may be manipulated in a way that was previously unthinkable. Federico Pierotti, in Emotions, Technology, and Design, 2016 Concluding Remarks
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