Lesson 3 : Color in cinema
Discussing color in cinema is essential for comprehending the pivotal significance of this visual component in the art of filmmaking.
From the early days of black and white films to contemporary productions in Technicolor, the use of hues and shades has evolved significantly, opening up endless possibilities for directors, filmmakers, and visual artists.
​
Color isn't merely an aesthetic matter, it plays a fundamental role in storytelling, symbolism, emotion, and perception in cinema. In this exploration, we will delve into the captivating realm of color in cinema, examining its history, impact, and significance in the art of storytelling on the silver screen.
Table of Contents
Â
1. The History of Color
2. Color Analyses
3. Color Schemes
4. ACES and sRGB
5. SourcesÂ
1. The History of Color
The history of color in cinema is a fascinating evolution that has deeply influenced the film industry and the audience's experience. From the early days of cinema to the present, color has undergone a significant transformation, shifting from a rarity to an essential element of cinematic language.
​
Cinema has its origins in the late 19th century, with inventors and pioneers such as Thomas Edison, the Lumière brothers, Georges Méliès, and many others. Early film screenings were often innovative experiments, but they were still in black and white. The first films were silent and consisted mainly of short sequences, often lacking actors or a storyline. They aimed to capture everyday moments or entertain the audience with moving images, like the famous Lumière brothers' film showing a train arriving at a station.
​
​
The Early Black and White Era (1890-1930): During this period, black and white was often chosen due to technical limitations, but it was also sometimes used deliberately to create specific atmospheres. Georges Méliès, a director and magician, used visual effects in his silent black and white films to create fantastic effects, as seen in A Trip to the Moon (1902).
​
Filmmakers of the time experimented with visual storytelling techniques, using shots, camera angles, and camera movements to convey stories. Although sound had not yet entered cinema, filmmakers strived to communicate emotions and narratives through visual means and expressive gestures. Over time, cinema evolved into more complex storytelling. Filmmakers like D.W. Griffith contributed to the development of cinematic language by using editing techniques to create more coherent and emotionally engaging stories, as seen in The Birth of a Nation (1915).
​
As technology advanced, early color experiments began to appear, although they were still uncommon and limited. Techniques such as hand-coloring each frame or tinting entire sequences were used to add touches of color to black and white films.
"The Birth of a Nation" (1915)
D.W.Griffith (1875 - 1948)
Early Color Attempts (1900-1930): One of the early methods involved manually coloring each frame of a film using pigments. Teams of artists painstakingly painted each frame, which was a laborious and costly process. This technique was used in films like Georges Méliès A Trip to the Moon (1902), where the stars and the Moon were hand-colored.
The color restoration of the film "A Trip to the Moon" (1902), directed by Georges Méliès, was carried out by the company Lobster Films, based in France. Serge Bromberg, the founder of Lobster Films, was one of the main individuals responsible for this restoration.
"A Trip to the Moon" (1902)
Another method was to tint or dye the entire film in a specific color to give an overall tone to a scene or film. For example, a blue tint could be used to represent night, while a red tint could symbolize love or anger. This technique was more efficient than hand-coloring but still had limitations in accurately representing colors.
​
By the mid-1910s, two-color processes were developed, allowing the recording of two primary colors (usually red and green) on the film. The Kinemacolor process, for example, could reproduce a limited range of colors, giving a tint to films, but it suffered from color fringing and image quality issues.
The Prizma system, introduced in 1913, was one of the first to use filter technology to create color effects. However, the process was still complex and costly, and it was not widely adopted.
​
The Technicolor Era (1930-1950): The first Technicolor film that marked this era was Becky Sharp (1935), directed by Rouben Mamoulian. Technicolor relied on the use of three negatives to record the primary colors (red, green, and blue). This method offered unprecedented image quality and chromatic richness.
Technicolor radically transformed the cinematic aesthetic. Films shot in Technicolor featured vivid and saturated colors that burst onto the screen. Directors and cinematographers quickly learned to exploit this new palette to create memorable images. For example, in Gone with the Wind (1939), Scarlett O'Hara's iconic green dress was strikingly vibrant.
Technicolor coincided with the rise of musical films. Classics like The Wizard of Oz (1939), Singin' in the Rain (1952), and West Side Story (1961) used color spectacularly to enhance musical and emotional numbers. The colorful sequences in these films have remained etched in collective memory.
As Technicolor gained popularity, more and more films were shot in color. It became the norm for many film genres, from epic adventures to family films and musical comedies.
"The Wizard of Oz (1939)
Technicolor wasn't just about aesthetics, it could also enhance storytelling. For example, in The Wizard of Oz the shift from black and white to the colorful world of Oz symbolizes Dorothy's transition from reality to her imaginative journey. Despite its advantages, Technicolor was costly to implement, limiting its use to large-scale productions. However, its impact on the film industry was undeniable.
Technicolor played a pivotal role in the production of Snow White and the Seven Dwarfs (1937) enabling the creation of an exceptional color animated film for its time, which contributed to its historic success in the film industry.
Snow White and the Seven Dwarfs (1937) Walt Disney
The Expansion of Color (1950-1970): The expansion of color in cinema during the 1950s-1970s was a period characterized by the widespread adoption of color as the industry standard. This period saw color technology becoming more accessible, leading to an explosion of color films. Hollywood studios embraced color as the norm, and filmmakers began exploring its artistic and narrative possibilities.
​
The 1950s saw the emergence of new color cinematography processes, such as Cinemascope and Technirama, which allowed for wider and more spectacular image formats. These formats were used to enhance the visual experiences of audiences, as seen in Ben-Hur (1959) with its famous chariot race. Color was employed in diverse ways across different film genres.
​
Adventure films and epics used color to create historical and exotic worlds, while musical comedies capitalized on the vibrancy of colors to enhance musical numbers. Horror and science fiction films also utilized color to create striking atmospheres and special effects.
The 1950s and 1960s were marked by the production of epic color films, often on a grand scale. Stanley Kubrick's Spartacus (1960) and Joseph L. Mankiewicz's Cleopatra (1963) are excellent examples. These films used color to bring ancient worlds and epic plots to life.
Color was used symbolically to reinforce themes and emotions in films. For example, in Alfred Hitchcock's "Psycho" (1960), color was subtly used to create a tense atmosphere and emphasize key narrative elements.
​
​
The Diversification of Approaches (1960s-1980s): The 1960s saw the emergence of auteur cinema, where directors sought to express themselves personally and artistically through their films. This paved the way for more experimental approaches to color. For instance, in Michelangelo Antonioni's Blow-Up (1966), color is used to create an enigmatic and surreal atmosphere, contributing to the film's mysterious plot.
Some directors leveraged color to craft unique atmospheres, while others explored specific color palettes to symbolize themes or emotions. Stanley Kubrick's 2001: A Space Odyssey (1968) is a notable example of using color to create a visual and philosophical experience.
In France, the New Wave movement played a significant role in redefining the use of color in cinema. Directors like François Truffaut and Jean-Luc Godard adopted a more spontaneous and realistic approach to color. In Truffaut's Jules and Jim (1962), color is subtly employed to reflect the evolving relationships between the characters.
​
Some filmmakers boldly used color to create distinctive visual experiences. Stanley Kubrick, for instance, employed vivid and hypnotic colors in A Clockwork Orange (1971) to create a striking contrast with the violence of the narrative. Italian director Dario Argento also embraced vibrant color palettes to intensify horror in his 1970s giallo horror films, such as Suspiria (1977).
Certain directors continued to use color symbolically to reinforce the themes and emotions of their films. For example, in Francis Ford Coppola's The Godfather (1972), red is used to symbolize the violence and power of the Corleone mafia family.
The Godfather 2 (1974)
Despite the popularity of color, some filmmakers deliberately chose to revert to black and white for artistic reasons. Woody Allen, for example, filmed Manhattan (1979) in black and white to capture the timeless beauty of New York City.
The late 1970s and early 1980s marked the beginning of the digital era, opening up new possibilities in terms of special effects and color manipulation. Films like Tron (1982) pioneered the use of computer technology to create entirely digital and colorful worlds.
​
The Digital Era and Beyond (1990s to Today): The digital era in cinema, which began in the 1990s and continues to this day, marked a major technological revolution in the film industry. The introduction of digital cinematography radically changed how films are shot, edited, and distributed, also impacting the management of color.
In the 1990s, digital cinematography became increasingly accessible to filmmakers. Digital cameras allowed for high-quality image capture without the need for film. This advancement not only reduced production costs but also opened up new possibilities for color manipulation. Digital cameras provided precise color control during the filming process. Directors and cinematographers could adjust color settings in real-time to achieve their desired aesthetics, allowing for increased creativity in using color to tell stories.
The advent of digital post-production took color manipulation even further. Post-production software offered sophisticated tools for adjusting color, saturation, and contrast, enabling filmmakers to achieve precise visual effects and create specific moods.
​
Digital Visual Effects (VFX) revolutionized the film industry. VFX allowed for the creation of entirely digital worlds and fantastical characters with an unlimited color palette. Films like Avatar (2009) showcased the breadth of possibilities offered by digital visual effects in terms of color and imagination.
​
Digital distribution of films gradually replaced physical film copies. Digital projections ensured faithful reproduction of a film's color in all cinemas, eliminating color variations associated with film stock.
​
High Dynamic Range (HDR) technology emerged, offering an extended dynamic range that could reproduce precise visual details in both bright and dark areas of an image. This improved the visual quality of films by providing richer and more realistic colors.
​
Digital cinematography allowed filmmakers to explore a wide variety of color palettes to represent different emotions, atmospheres, and worlds. Films like La La Land (2016) and Mad Max: Fury Road (2015) used color boldly to enhance their visual and narrative impact.
The digital era in cinema opened new horizons in color, offering filmmakers increased control and unlimited creative possibilities. This period was characterized by significant technological advancements that have shaped the contemporary film industry and continue to influence how color is used to tell stories on the big screen.
2. Color Analyses
The Symbolism of Colors: The analysis of colors in cinema reveals how this powerful visual language is used to influence audience reactions and enrich the cinematic experience. Colors are often employed to symbolize emotions, characters, or ideas.
Inside out (2015) Pixar Studio
Red: Red is often associated with passion, love, anger, warmth, energy, and danger. Examples: Red can be used to represent intense love in Baz Luhrmann's Moulin Rouge! (2001) or anger and violence in David Fincher's Fight Club (1999). In Steven Spielberg's Schindler's List (1993), the little girl in the red coat becomes a powerful symbol of lost innocence amidst the horror of the Holocaust.
2001 a space odyssey ( 1968)
American Beauty (2000)
The Batman (2022)
The Grand Budapest Hotel (2014)
It (2017)
Blue: Blue is linked to tranquility, melancholy, coldness, peace, and stability. Examples: Blue can create an atmosphere of calm and reflection in Sofia Coppola's Lost in Translation (2003) or represent coldness and isolation in Stanley Kubrick's The Shining (1980).
James Bond (2021)
Mad Max Fury Road (2015)
The Devil's Backbone (2001)
Radius (2017)
Miramax Vantage (1998-2006)
Green: Green is often associated with nature, growth, hope, luck, but sometimes also with jealousy. Examples: Green can evoke nature and escape in Peter Jackson's The Lord of the Rings: The Fellowship of the Ring (2001) or symbolize jealousy in Anthony Minghella's The English Patient (1996).
Matrix (1999)
Lalaland (2016)
Joker (2019)
Vertigo (1958)
Shape of water (2017)
Â
Yellow: Yellow is linked to joy, optimism, creativity, but can also suggest cowardice or illness. Examples: Yellow is used to represent joy and optimism in Robert Zemeckis's Forrest Gump (1994), but it can also symbolize illness in Darren Aronofsky's Requiem for a Dream (2000).
Kill Bill (1999)
Need for speed (2014)
Sin City (2005)
Ennemy (2013)
Fox Searchlight (1994-....)
Â
Black: is often associated with death, mystery, fear, power, authority, but can also symbolize mourning. Examples: Black is used to create an atmosphere of mystery and fear in many horror films, like Alfred Hitchcock's Psycho (1960), but it can also symbolize authority and power, as seen in Christopher Nolan's The Dark Knight (2008).
White: Symbolism: White is linked to purity, innocence, peace, but can also suggest sterility or emptiness. Examples: White is used to represent innocence in Marie-Castille Mention-Schaar's Le Ciel attendra (2016), but it can also evoke a sterile and dystopian world in George Lucas's THX 1138 (1971).
The Batman (2022)
THX 1138 (1971)
The lord of the ring (2001)
A Clockwork Orange (1971)
Â
Purple: Purple is often associated with royalty, mystery, spirituality, creativity, but can also evoke sadness. Examples: Purple can be used to represent creativity in Jean-Pierre Jeunet's Amélie (2001), but it can also evoke sadness and melancholy in Damien Chazelle's La La Land (2016).
Blade Runner 2049 (2017)
Ad astra (2019)
Lalaland (2016)
Â
Each color in cinema has its own symbolic meaning, but its impact also depends on how it is used within the visual and narrative context of the film. Filmmakers leverage these color associations to create emotionally and thematically rich cinematic experiences.
​
Color Phychologie :
The psychology of colors studies how colors can influence the emotions, perceptions, and behaviors of individuals. In cinema, directors and cinematographers use this knowledge to enhance the storytelling and emotional impact of their films.
​
Example: The Shape of Water (2017) - Director: Guillermo del Toro: The film predominantly features shades of green and turquoise, creating an aquatic ambiance that reinforces the theme of communication with an underwater creature.
The Grand Budapest Hotel (2014) - Director: Wes Anderson: Wes Anderson is known for his distinctive color palette. In this film, he uses bright and pastel colors to create a fantastical and eccentric atmosphere that complements the story's tone.
Her (2013) - Director: Spike Jonze: In this science fiction film, color is used to evoke the emotions of the main character, particularly loneliness. The urban environment is often depicted in shades of gray and beige, while the relationship with artificial intelligence is portrayed using brighter and warmer colors.
Schindler's List (1993) - Director: Steven Spielberg: In this Holocaust film, color plays an essential role. The film is primarily in black and white, but the director strategically uses the color red to symbolize lost innocence. For instance, the little girl in the red coat becomes a poignant symbol of tragedy.
.jpg)
3. Color Schemes
Color Terms:
It is important to understand several factors to effectively manipulate color and create beautiful images. Saturation, hue, and value are three fundamental components of the HSV (Hue, Saturation, Value) or HSL (Hue, Saturation, Lightness) color model. This model is commonly used to describe and adjust color in the fields of photography, graphic design, and cinematography.
Hue: Hue represents the tone or base color of an image and is measured in degrees on a color wheel ranging from 0 to 360 degrees. For example, red is typically located at 0 degrees, green at 120 degrees, and blue at 240 degrees.
Saturation: Saturation measures the intensity or purity of a color and is usually expressed as a percentage, ranging from 0% (completely desaturated, i.e., grayscale) to 100% (fully saturated color). In cinema, saturation can be used to influence the emotional impact of a scene. Highly saturated imagery can create a vibrant and dynamic atmosphere, while low saturation can evoke a more subdued or nostalgic mood.
Value (Brightness): Value represents the brightness or clarity of a color and is also typically expressed as a percentage, ranging from 0% (absolute black) to 100% (pure white). In filmmaking, value is crucial for creating contrasts and shadows. A scene with high value can appear bright and open, while low value can create a dark and mysterious atmosphere.
​
​
By adjusting hue, saturation, and value, filmmakers can influence the visual perception of viewers and create specific cinematic moods. For instance, an increase in saturation and value may be used to enhance energy and excitement in an action scene, while a decrease in saturation and value can be employed to create a more dramatic and somber atmosphere in a suspenseful film. Understanding these color components is essential for mastering the art of cinematography and visual ambiance creation.
RGB Color Wheel
RGB, CMY, CMYK, and RYB
The RGB (Red, Green, Blue) and CMY (Cyan, Magenta, Yellow) color wheels are two primary color systems widely used in the fields of photography, video, graphic design, and printing. Each of these systems has its own characteristics and applications.
RGB Components: The RGB system is based on three additive primary colors: red (R), green (G), and blue (B). These colors are called additive because they are mixed together to create brighter and lighter colors.
​
Additive Combination: By mixing different intensities of these three colors, you can create an extensive range of colors. For example, if you combine red and green at full intensity, you get yellow. By gradually adding more blue, you can achieve a variety of colors, up to white when all three colors are at their maximum intensity.
​
Applications: The RGB system is commonly used for computer screens, televisions, projectors, and electronic devices. It is ideal for representing images and videos on screens because it is how individual pixels emit light to create images.
​
CMY Components: The CMY system is based on three subtractive primary colors: cyan (C), magenta (M), and yellow (Y). These colors are called subtractive because they work by absorbing (subtracting) certain parts of the white light spectrum.
​
Subtractive Combination: Mixing these three colors results in black, in contrast to the RGB system where mixing all colors gives white. Therefore, to obtain different colors, cyan, magenta, and yellow inks are mixed in varying proportions.
​
Applications: The CMY system is commonly used in color printing, whether it's for magazine prints, posters, or packaging. During printing, CMY inks are layered on white paper to create an extensive range of colors. Often, a fourth black ink (K, for Key) is also used to achieve deeper blacks and save ink.
​
The CMYK Model: It is important to note that in the printing industry, the CMY model is often extended to the CMYK model, where K represents black. This allows for denser and sharper black in printing.
In summary, the RGB and CMY color wheels are two fundamental systems for managing and creating colors in various fields, each suited to specific applications. The choice between them depends on the needs and media being used.
RYB Color Wheel
The RYB (Red, Yellow, Blue) color wheel is a traditional system of primary colors that has been used for many years in art and color theory. It differs from the RGB and CMY systems discussed earlier. Here is an overview of the RYB color wheel and complementary colors:
color schemes
RYB Components: The RYB system consists of three primary colors: red (R), yellow (Y), and blue (B). These colors are used as a basis to create other colors by mixing them.
Historical Origin: The RYB system has its origins in ancient artistic traditions, where these primary colors were commonly used to mix paints and pigments. It is a subtractive color model, meaning that colors are mixed by subtracting certain parts of white light.
Limitations: The RYB system has some limitations compared to the RGB and CMY systems because it cannot efficiently produce the entire visible range of colors. For example, it is challenging to achieve pure black by mixing red, yellow, and blue, unlike the CMY system where the combination of the three primary colors produces black.
In summary, the RYB color wheel is a traditional system of primary colors used in art, while complementary colors are pairs of opposite colors on the color wheel used to create contrasting and balanced visual effects. These concepts are important in color theory and have practical applications in various artistic and visual fields.
The color schemes wheel offers different combinations of colors that can be used to create harmonious visual compositions. Here is a brief description of the main roles observed in color schemes:
Monochromatic Colors: Uses different shades of a single color, creating a harmonious and soothing color palette. For example, various shades of blue, ranging from light blue to dark blue.
Analogous Colors: Uses adjacent colors on the color wheel, creating a gentle visual harmony. For example, a combination of blue, blue-green, and green.
Complementary Colors: Uses colors opposite each other on the color wheel, creating strong and dynamic contrast. For example, red and green, blue and orange.
Triadic Colors: Uses three equidistant colors on the color wheel, creating balanced contrast. For example, yellow, red, and blue.
Split-Complementary Colors: Uses a base color and the two colors adjacent to its complementary color. This creates strong contrast with some harmony. For example, blue with orange and yellow.
Tetradic Colors: Uses four equidistant colors on the color wheel, creating a varied color palette. For example, red, green, blue, and yellow.
​
Each color scheme has its own visual and emotional characteristics, and the choice depends on the message one wants to convey or the atmosphere one wants to create in a design project, whether it's in fashion, interior decoration, graphic design, or other creative fields.
4. ACES and sRGB
What is ACES (Academy Color Encoding System) ?
The term "ACES" refers to the color management and color space system known as the "Academy Color Encoding System." It was developed by the Academy of Motion Picture Arts and Sciences (the organization behind the Oscars) to standardize and improve color management in the film industry. ACES aims to ensure color consistency and quality throughout the entire film production chain, from capture to theatrical projection.
​
Comprehensive Color Management: ACES provides a complete infrastructure for color management, covering capture, editing, special effects, color grading, storage, and theatrical projection. It standardizes the process so that all stages use the same color space and standards.
​
Standards and Specifications: ACES is based on strict technical standards and specifications, enabling interoperability between software, cameras, and equipment used in the film industry. This ensures that colors are reproduced consistently.
Camera Calibration: ACES defines calibration procedures for cameras, ensuring that captured images conform to the ACES color space.
​
Long-Term Archiving: ACES is also designed to meet the long-term archiving needs of films. It preserves color quality and ensures that films can be optimally screened in the future.
Creative Flexibility: While ACES enforces standards for color management, it offers creative flexibility to filmmakers. Artists have the ability to adjust colors according to their artistic vision while ensuring that these adjustments remain compatible with ACES standards.
​
In summary, ACES is a color management system for the film industry that aims to ensure color consistency and quality throughout the film production and distribution process. It has become a de facto standard in the industry and is widely used to ensure that films are presented with optimal visual quality in cinemas worldwide.
sRGB or ACES ?
sRGB (Standard Red Green Blue) and ACES (Academy Color Encoding System) are two color spaces used in different contexts, each with distinct characteristics:
​
sRGB (Standard RGB)
Primary Use: sRGB is primarily used in computer applications, computer screens, web browsers, and consumer applications. It is designed for visualization and display on screens.
Color Gamut: sRGB has a relatively limited color gamut and is often considered a standard color space for screens. It is suitable for display on computer monitors but does not cover the entire visible color spectrum.
Gamma: sRGB typically uses a standard gamma curve of 2.2 for luminance correction, which is suitable for screens.
Applications: sRGB is widely used in graphic design, photo editing, web content creation, and consumer applications
Autodesk Documentation
sRGB
ACES
ACES (Academy Color Encoding System)
Primary Use: ACES was specifically developed for the film industry. It is used for color management in film production, from capture to post-production, color grading, and theatrical projection.
Color Gamut: ACES has a very wide color gamut, covering a large portion of the visible spectrum. This allows for precise capture and reproduction of colors in films.
Gamma: ACES uses a linear gamma, meaning it does not apply gamma correction to luminance. This maintains linearity in color management throughout the production chain.
Applications: ACES is specifically intended for the film industry. It is used to ensure color consistency throughout film production, from on-set capture to theatrical projection. It is also used for long-term film archiving.
​
This chart developed by Autodesk compares the different gamuts, and you can easily see the differences:
In summary, the main difference between sRGB and ACES lies in their use and color gamut. sRGB is designed for computer screens and consumer applications, while ACES is specifically developed for the film industry, offering an extensive color gamut for precise color capture and reproduction in films.
ACES-CG in Renderman
To activate ACES it is important to tell the renderer that your Open Color IO is ACES-1.2 then convert the textures to ACES and change your viewport to ACES setting, don't forget to close and restart your rendering window afterwards.
Utility Linear sRGB Render with Renderman
ACES-CG Render with Renderman
I hope this lesson has served you well !
5. SOURCES
Sources
https://mononodes.com/color-management-in-davinci-resolve/
https://www.technicolorcreative.com/fr/about/history/the-vault-our-legacy-is-our-future/
https://gigazine.net/gsc_news/en/20160624-color-psychology/
https://www.oscars.org/science-technology/sci-tech-projects/aces
Images
https://www.hellopaperkite.com/2021/09/27/the-truth-about-color-psychology-in-marketing/
https://mononodes.com/color-management-in-davinci-resolve/
https://www.thepublicdiscourse.com/2022/04/81081/
https://www.lightzoomlumiere.fr/article/les-freres-lumiere-pionniers-lyonnais-du-cinema/
https://www.themoviedb.org/person/11523-georges-melies?language=fr
http://www.formatcourt.com/2014/12/le-voyage-dans-la-lune-de-georges-melies-en-couleurs/
https://www.cnc.fr/cinema/actualites/limage-de-la-semaine--quand-georges-melies-visait-la-lune_1023335
https://www.npr.org/sections/codeswitch/2015/02/08/383279630/100-years-later-whats-the-legacy-of-birth-of-a-nation
https://upload.wikimedia.org/wikipedia/commons/6/61/Birth_of_a_Nation_theatrical_poster.jpg
https://upload.wikimedia.org/wikipedia/commons/9/93/David_Wark_Griffith_portrait.jpg
https://www.technicolorcreative.com/fr/about/history/the-vault-our-legacy-is-our-future/https://vmi.tv/blog/learn-https://vmi.tv/blog/learn-help/hdr_reality_and_monitoring-a_dops_perspective
https://dreamfarmstudios.com/blog/animation-psychology-how-to-make-it-work-for-adults-and-kids/
https://www.oscars.org/science-technology/sci-tech-projects/aces
https://learn.foundry.com/nuke/content/comp_environment/configuring_nuke/using_ocio_config_files.html
https://www.istockphoto.com/nl/vector/rgb-and-cmyk-color-mixing-vector-diagram-additive-and-subtractive-colors-gm1328648271-412635088
https://lightcolourvision.org/diagrams/rgb-colour-wheel-with-18-colours-wheel/
http://www.realcolorwheel.com/othercolorwheel.htm
https://www.printingcenterusa.com/blog/what-is-cmyk-and-why-is-it-used-for-printing/
https://www.quora.com/What-is-a-good-colour-to-represent-major-emotion-e-g-fear
https://blog.son-video.com/2017/12/tout-savoir-hdr/