"There is no Dana, there is only Zuul!" (Ghostbusters, 1984)
Ahem.
Let's get technical!
You can see below a presentation of the visible light spectrum. Like a rainbow, this goes from ultraviolet (UV) to infared.
What's missing?
Notice that you don't see white, black, or brown. But you can see white light, right? So, where does white light come from? Oooh, let's discuss!
Background
For those who don't know, I got my Bachelors of Arts in Cinema at San Francisco State University (go Gators!). And while I do use my degree in my current position, mostly it just taught me some nifty terms (such as "neutral density filter"), random bits of trivia (such as what a "grip" does), and overall technical knowledge, the main one being: how does the mechanical eye of the camera differ from your human eye?
The myth of "white" light
One of the main things your eye does that a camera has to be told to do is to see all lights as white. In film terms, light comes with a "color temperature". The color temperature of light depends on the type of light:
Fluorescent- green
Incandescent/tungsten (interior)- orange
Daylight (sunlight)- blue, though the exact color blue changes throughout the day
The sunlight that your eyes see as "white" is actually really light blue.
Ott Light Note: this is essentially the science behind the "Ott Light" (see here). The Ott Light (as well as the light in modern sewing machines) looks "blue" because it's matching the daylight (sunlight) color temperature. However, there are two problems with this: 1) the rest of the lights (incandescent or LED) in the room will be orange in color, and not match the light, and 2) the color temperature of daylight changes throughout the day anyway. Some people love their Ott Lights, but I just use a regular incandescent light for my hand sewing and beading, and it works great.
(On medium to high end cameras/camcorders, there is a "white balance" setting, to allow you to switch from light source to light source, and still maintain the "white" light.)
This is also why, if you're trying to match two different fabrics, or fabric and trim, it is recommended to take your fabric outside or close to a window, to see it in daylight, rather than under the store fluorescent lights. The more reflective (i.e. shiny) fabric, such as silk or satin, will change tones more depending on which light source you're under. Less reflective fabrics, such as cotton, won't change tones as much, and your eye tends to correct for these small changes anyway. Stores in the LA Garment District will cut you a swatch of a fabric, so even if they won't let you take the bolt of fabric outside, you can take the swatch outside, or take it home. Some online vendors will also sell swatches, which is REALLY helpful since dupioni and other silk solids come in a wide variety of colors.
Why does this matter?
The myth of white fabric
Imagine you're shopping online, and you look at fabric. It's described as "white", the picture shows it as white, so it must be white, right? You get it home, and it's slightly blue (or a cool white), or slightly yellow (or a warm white), only one of which looks good against your skin. Ack!
See below for pictures of two different white silks (taken from www.fabric.com). Both fabrics are described as "white", so why are there two?
Radiance silk- White |
Radiance silk- PFD White |
Three "white" cotton fabrics under regular indoor light. Notice it looks almost tan, or almond. |
The same three "white" cottons- with a flash. Notice it looks slightly more blue. |
My "Night Circus" 1885 bodice. The center panels are made with white silk. Or is it white? |
Bodice "white" silk, against three cottons, using indoor light |
Same as above, with flash. See how the "white" silk is actually closer to the off-white cotton? Aha! Tricked you! |
When I was looking at the silk to use for the center panel (and the matching underskirt), there were two "white" silks: white, and PFD (prepared for dyeing) white silk. I got swatches for both (thank you, fabric.com!), and the regular white was a blue white, and looked HORRIBLE against my skin. The PFD white, while just the slightest bit off-white, was slightly more yellow, and looked much better. Since it was going to be contrasted against black, from a distance, it would look pure white.
Also, since you can see through it slightly, it looks even slightly more white because it's interlined with white cotton twill.
With flash. It's pure white, I swear! |
At Costume College 2016. Under studio lights, so the center panel looks even more "white". And yes, that's a Professor Slughorn wand from Harry Potter. :) |
With the white side of the underskirt. Do you see it against the white ribbon trim of the overkirt? |
Skin tone trick:
I learned this at Costume College last year, in a class taught by Lauren of American Duchess. If you look at your veins, and they look more blue, you have a cooler skin tone. If you look at your veins and they look green, you have a warmer skin tone. While it's up to you what colors you choose in the end, we all have colors that we avoid like the plague, because they just "don't work" against your skin.
Color temperature in real life
I love the new show "Timeless" on NBC. The plot is a little thin (basically this guy takes a time machine, and travels back to multiple times in American history to try and destroy current America, don't know why, and our three heroes take another time machine to chase him down), but the costumes are gorgeous! If not totally period correct. Which, actually, makes perfect sense in the context of the show. So there, haters!
In the second episode, our courageous heroes go back to 1865 to chase down our disreputable bad guy, who is messing with the plot to kill Abraham Lincoln. The main character, Lucy, ends up going to the theater with Lincoln's Chief of Staff, and so buys an evening gown.
In the first scene you see her in, I thought the satin contrast was a seafoam green.
Isn't she lovely? Sorry, it's a bit blurry, she was moving, |
For film and television, lighting is often made to look as though it comes from an already existing light source for the room. For 1865 inside a hotel room, the obvious choices are wick lamps, candlelight, or fire from the fireplace. So, a light looking somewhat "yellow" makes sense.
Now the trim looks almost periwinkle! What gives? |
And yet, in the next scene, they are in a theater, also supposedly lit by candelight, and yet gone is the "yellow" overtones. The dress trim that looked green now looks almost periwinkle. Same camera, same television, same channel. Yet the lighting color changed from "yellow" to a much more distinct "blue".
Nifty film terms: the Director of Photography (also known as the Cinematographer, or "DP" for short) is responsible for the "look" of the film. This means that everything that is seen by the camera is under his/her purview. This is who wins the "Best Cinematography" Oscar. Under him/her is the "Lighting Designer". This person is responsible for designing what lights are placed where, with what filters, etc.
While I doubt many people may have noticed the color change, I had to rewind to make sure I wasn't going color blind. :)
This is a prime example of not just color temperature in film and television, but also how the color of lights can affect the color of your fabric/trim. And yet, both lights are "white".
This is a prime example of not just color temperature in film and television, but also how the color of lights can affect the color of your fabric/trim. And yet, both lights are "white".
To wrap things up: there is no "white" light, it's just what our eye "sees" as white.
And here's your costume closet of Zen:
Can I have this as my costume closet? |
It's also supposedly "organized by region". Jaw droppingly awesome!! |
Happy sewing, friends!!
Since I won't be posting anything next week (unless I discover I have tons of time, shockingly), have a wonderful Thanksgiving!!
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