вЂњIt cerebrally makes a difference.вЂќ via GIPHYД¬olor shows a characterвЂ™s journey. вЂњYour eyes have been washed in a limited palette and suddenly thereвЂ™s intense green,вЂќ said Feinberg. вЂњOur production designer was adamant that there be no green anywhere, because he wanted a visual punch when WALL-E finds a plant for the first time.вЂќ Color amplifies this important moment. So we limited the palette to tans and oranges,вЂќ she said. Yet, we needed the audience to understand that weвЂ™re on Earth, that itвЂ™s polluted, and that WALL-EвЂ™s the last one left. Feinberg looks at the opening of WALL-E (2008): вЂњWe had to do massive visual storytelling because thereвЂ™s no dialogue - only robot boops and beeps. The goal: to make key moments feel appropriately vibrant or somber. For each film, Pixar creates a вЂњcolor scriptвЂќ that maps out the hues for all scenes so they fit within the larger story arc. In Toy Story 3 (2010), a yellowish-green around the character Lots-oвЂ™-HugginвЂ™ Bear foreshadows that maybe this isnвЂ™t the sweet, lovable bear you thought. Incredible works at his desk at Insuracare - the colors are dulled and gray to communicate a sense of depression. вЂњLighting and color are part of the backbone of emotion.вЂќ She points to the scene in The Incredibles (2004) where Mr. Danielle Feinberg, director of photography at Pixar, describes herself as вЂњcolor obsessedвЂќ (TED Talk: The magic ingredient that brings Pixar films to life). With prestige productions like The Wizard of Oz (1939) and Gone with the Wind (1939), Technicolor developed many of the color techniques still used today, even as film has gone digital. Color didnвЂ™t return until 1932, when Technicolor created a process which transferred dye onto film. Sound is what ended colorвЂ™s onscreen reign, because connecting a soundtrack to a film strip with applied color was difficult. To achieve color, early filmmakers immersed film strips in dyes and chemicals, or had them painted by hand - a labor-intensive process done mainly by women in sweatshops. Griffith gave each of his four storylines a unique tint to signal they took place in different time periods. Filmmakers realized that different tones could help viewers follow stories that jumped between characters and locations. Barbara Flueckiger, film professor at the University of Zurich, has created a timeline of the 230+ processes used to color films over time, and by some estimates, upВ to 80 percent of early films featured color. We think of early films as black-and-white, but color has been around since the start - it lent authenticity to the travelogues of the 1890s and made works like Georges MГ©liГЁsвЂ™ A Trip to the Moon (1902) feel fantastical.

via GIPHYД¬olor simplifies complex stories. Here are the ways in which filmmakers use color to deepen narrative. When you see a color in a film, what you see is no accident - filmmakers carefully compose each frame and make color decisions that affect your experience of watching, even if you donвЂ™t realize it. ThereвЂ™s no Academy Award for Best Color - yet - but this less-celebrated element of filmmaking is used to propel and convey the plot.

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