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Variation: Color Part 1

Variation continues to be one of the most important concepts I learn more about work.  I wanted to take a deep dive into color variation in real and CG textures.

Let’s start by looking at the green Anna’s Hummingbird below.

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But what does it mean for a creature to be green?

Monochromatic Variation

Green isn’t exactly green. In nature, creatures that seem to be one color vary in color within hue, value, and saturation.

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Something very interesting I learned at work is how color variation must be added to textures for characters, sets and props. I wanted to do some research looking only at green characters in film to see how they use variation.

When I think of the characters below, green is what comes to mind, and I still read them as green at a glance or in motion. But with a closer look, in The Wizard of Oz for example, I noticed the variation in the witch’s makeup.

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However, when I alter the skin below to be monochromatic, I see how the variation serves a purpose to accentuate the eyes, show evil, and makes her feel less manufactured/theatrical by being only one solid color.

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This variation within a color range is also what brings realism to digital characters. This is shown in Hulk with warmer tones in his skin (shown in his nose, cheeks, forehead, neck), saturated green freckles, and 5 O’clock shadow. This example of the Hulk example was so insightful for me because it’s harder for an audience to accept a character that is entirely one color. There has to be a pull back to reality with variety.

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Skin coloring is also not constant. An interesting read from ILM’s John Knoll on Rogue One:

http://www.studiodaily.com/2017/02/ilm-senior-vfx-supe-john-knoll-on-rogue-one-a-star-wars-story/

"I learned a lot about what it takes to do realistic skin shading and motion. Things that are subtle, like blood flow from heartbeats, compression and tension on the skin. It’s a subtle thing, but it helps make a character look alive." - John Knoll

And on how skin colors change based on emotions:

https://www.businessinsider.com/facial-colours-can-give-away-our-emotions-2018-3

Other “green” characters: (Click to Enlarge)

Saturation Check

There is thankfully an easy way to check for color variation. One of my favorite things I’ve learned at work recently is amplifying variation by bringing an image into Photoshop or Nuke and cranking up the saturation to the max.

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Even in an example that is more monochromatic, the real-life color variation still comes through. This becomes an important concept for VFX: Cheating in slight color variation in CG textures is what gives them a hint more realism.

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Now, back to Anna’s Hummingbird. If we do a color variation check, we see that the bird is a balance of warm and cool. I originally thought the warm areas were dark, desaturated green sections.

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Another level of color variation is added to this bird when we add movement:

Iridescence

Iridescence is the change of color based on viewing angle. This adds an extra level of visual interest when the character or camera is moving. 

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I was not expecting iridescence to be found in so many cases in nature when I started this study: (Click to Enlarge)

After watching the trailer for Venom, what stuck with me most was the choice to make him more like a real-world creature by adding widened color variation. .

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While his eyes seem to be a constant texture and not iridescent, this study made me realize that a wide range of color variation is needed to help Venom feel organic and ground him in reality. Having plain, white eyes would read a little too CG.

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