A TheJudge13 World Exclusive

· by · in F1 Features. ·

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UPDATE: 12/2/13 for those visiting for the first time from my 3000th tweet. We published this video one week before the launch of the RB9 – and were right. Now just enjoy the video as a suggestion of the possible influences on Christian and Adrian’s decision to paint the RB9 purple. Maybe the sound track should have been ‘the hippie hippie shakes 😀

Here is a sneak preview of the RB9

42 responses to “A TheJudge13 World Exclusive”

  1. 6 words and one murky photo wouldn’t have robbed me of 4 minutes of my life that I’ll never get back…

  4. I do graphics for a living, so you guys do know a dark indigo like say, 2012’s Red Bull, would reflect some surfaces another colour… say red, as a purple-lilac tone, and it would also be broken into odd contours and shapes along the lines of the car body. Hope I’m wrong.

    • Good call, Adam. Color theory and color perception are mind boggling (literally, because the mind boggles the color in often annoying counterintuitive ways, e.g. brown and purple are not strictly colors spectrally) but super fun to learn about. Okay, you have to like a bit of intellectual self flagellation, but whatever. I got in way too deep for the about face reason that I never intuitively “got it”, and because part of my work’s woes was and is to make sure of print consistency, and frankly, it is shocking how bad small publishers are at that. (think bad enough to loose business) It’s so easy to tell when something is wrong with color correction, but – at least in my experience – disproportionately hard to do it right in the first place, and exponentially hard to correct after the fact. For some reason the first search on my local disk for color comes up as “Calculating correlated color temperatures across the entire gamut of daylight and skylight chromaticities” A real weal world application of that paper would be to work out how to correct mattes shot in different lighting environments so the brain doesn’t bork at mismatches. Brain is annoyingly good at adjusting color to “what it should be” and then exceptionally good at spotting the tiniest inconsistency if you juxtapose two images taken in say different light. When you’re paying attention to color correction (film dudes call this color timing) you want to adjust to controlled lighting, only enough lighting, and wear a black shirt because even reflections from your shirt can throw you wildly off.

      (bear in mind the chances of a youtube video being color corrected are about zero, so anything could be going on, and then what may look “right” on your monitor could be way off assuming Adam is viewing on a nice Eizo or similar high end screen, all dialed in . . all dialed in most likely (assuming print and graphics design) to a non video color space!)

      I’ve not got my archive drive mounted for search today. (building up a new storage box) Very very briefly I helped beta test a camera raw file converter, and got proverbially handed my head by the trip of talking to the guys who really are serious about color. If anyone is actually interested in this sort of thing, I’ve a small library of excellent materials, papers and books I can slip under the counter. Blast, I can’t even remember the title of a book I admittedly only skimmed on the psychology of blue. Human eyes do not focus on blue very well, and that’s why a gym I go to has blue wall wash lighting in the basement pool area, makes it feel far less enclosed. You could in theory paint the rear of a car to marginally make it more difficult to visually perceive depth and distance, though drivers are using their ears as much as eyes when that close.

      Right, that’s enough confusing everyone just because I’ve got the hump I don’t get what the video is about!

        • So True! Subtractive color. If you’re ever incarcerated in a room with moss green glossy wall paint, worry and look for a exit. That’s how to hide the blood splatters … (shades of Richard Burton et, al, “Wild Geese, a almost realistic account of Mad Mike Hoare’s escapade)

          The actual point is the perceptual interaction, we spot tiny differences more acutely than whopping great ones, kind of go east to go west on the charts. Not sure you have, but know you’re a Linux dude, so Argyll CMS (color management system) is very very good now, but just try to get even two nominally identical monitors looking the same next to each other. Not impossible, but quite the chore. Deffo get to grips with Argyll if you’re printing on linux.

  8. Strange times. I don’t find myself commenting on my own site very much – new comment thread wise – in fact never before. But during this project I began to wonder whether John Williams pinched quite a bit of Gustav’s ideas from ‘Mars’

    • John Williams has always poached from classical composers – and won many Oscars on their behalf – kind of him…

  10. As much as the name Violetta would be nice for the next lady car in line at the champion team, the RB9 remains in the indigo blue zone, not going purple. It is indeed an effect of the light (indigo has purple undertones as the wavelengths are very close to that of purple). The RB cars have been going slighly more purple-ish intheir blue shade over the years (with the Toro Rosso being the most purple-toned livery of the Red Bull brand in F1). Although I’m sure they’ll want the car to go purple as much as possible on the rack.

    • Welcome NoF. Think it’s your 1st post. confidence is certainly high in MK from what I hear.

      I suppose when you’ve got Newey whose designed 18 (I think) title winning cars it should be though.

      Comments accepted by all who commented over exact hue representation in pics.

      I was told aswell however, it looked ‘bloody horrible’ though, so whether this is a bigger step change in colour than before, we’ll see.

  11. ‘Jimmy’ Hendrix? Did he used to be in The Beetles or am I getting confused with Jimi Page from Lead Zeppelin?

  12. Who let you into the factory? Was it Horner? Newey? I knew they were up to something. All those calls to Italy. Do they think I don’t check.

    • Welcome Sir, we are honoured. They do say, ‘when the cats away…’ Anyway on the subject of cats, Bernie’s not well. Gave him fresh meat tonight and he refused. I think he’s feeling blue 😉

      A retainer will get you what you want to know first, by the way…

      Anyway, I approve of the re-branding. Always thought the blue and silver was a bit clinical and cold…medicinal and chemical based even.

    • Lots of “colors” i.e. ones that are not spectral, meaning a simple bit of the rainbow, are tricky things. You get paints that by addition radiate very complex wavelengths that stimulate different bits of our perception (think fluorescents and metallics and purple is pretty complicated, as this debate anecdotally confirms) and the human eye experiences them in unusual ways. One basic thing is what’s called a Macaulay Ellipse, where we see groups of colors as essentially the same. That’s how a screen or print run can have _sometimes really quite wide tolerances but appear just fine to the eye (whilst sending your spectro measurements into panic territory) and yet composite pigments can start out each pigment inside where you’d not notice, but when mixed, because you now have overlapping reflections in the spectrum, you get something quite different.

      There’s likely a error in every two words when I try to explain color science, but I hope the idea transmits.

      Here’s a better explanation of just one aspect of what I’m on about, which is usually a undesirable effect, but is sometimes used to create specific effects:

      http://en.wikipedia.org/wiki/Metamerism_(color)

        • The plagiarism thought nearly went woosh over my head entirely, and would have been lost had you not raised it. Can you elucidate the core comparison a bit better?

          Though they’ve not AFAIK shown up on the F1 advertising rosta much lately, but my arguments about how pigments can work to produce something in a color that is unique and not easily mathematically described, were key to Deutsche Telekom being able to trademark their bright pink purple logo color tint and hue. (That was over and above their claim to “famous mark” protection, they had a lot of challenges to their application.

          • Penny finally drops about Williams / Holst. My late BP managed a not unknown classical composer and recounted a meeting with some hollywierd people as to licensing a part of a score. He summarised it this way, “They were rather surprised we didn’t take it up that way, and said sod it they’d have someone write something just sufficiently dissimilar we’d not bother to sue . . “

        • I just posted, but above…
          ‘John Williams has always poached from classical composers – and won many Oscars on their behalf – kind of him…’

          I take it you’re not too busy at the moment… 🙂

        • . . . and while I think of it… a couple of weeks ago you posted an aerial photo of a race track and asked why the kart track looked dodgy… I replied that it appeared to be in Northern Ireland, but you didn’t respond…
          Perhaps then you were busy… 😉

          • Nice to think you missed me… 😉
            I’ve been sweltering in Singapore for a week or two, and unable to get online… I’m now ‘home’, but still in SEAsia… and still sweltering… and playing catch-up.
            I’ve certainly missed you and all your erudite and entertaining contributors – and the hammerhead-shark Ferrari looks gorgeous. Not sure about Bernie though… 🙂

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