COLOURS OF EMOTION

Colour isn’t just decoration, it communicates. The colours we choose affect mood, focus, narrative flow and emotional impact. At Factory Fifteen, we use colour not only to craft striking visuals but also to reinforce story, character and atmosphere, drawing on colour psychology and cinematic theory.

Colour Theory

What is colour theory?

Colour theory comes from the organisation of hues on a colour wheel, a tool that helps artists and filmmakers understand relationships between colours.
When used intentionally colour guides eye movement, establishes tone and evokes emotional responses.

A colour is made of three main components: hue (the colour itself), saturation (the intensity of the colour) and value (how light or dark a colour is).

Colour psychology tells us that most viewers have similar reaction to certain colours, for example warm colours tend to excite viewers and cold colours have a calming effect but this is not always true and ultimately it depends on how colours are used in the piece.

Traditionally there are some colour schemes that have harmonious relationship on a colour wheel and therefore are used to create balanced and cohesive colour palettes, the most common typed are monochromatic, analogous, complementary and triadic.

Monochromatic

A monochromatic colour scheme uses varying shades and tints of a single hue, exploring the full range of a colour. Monochromatic schemes usually produce a unified, tranquil atmosphere that feels subtle, immersive and emotionally enveloping.

Project Highlight

The Bug

The monochromatic palette used in The Bug serves as a stark visual metaphor for the rigid, sterile constraints of the film’s totalitarian system.

By stripping away the vibrancy of color we lean into the high-contrast aesthetic of film noir and brutalist architecture, emphasizing the gray landscapes and claustrophobic energy that define a life of monotonous, medicated routine.

This black-and-white choice enhances the project by heightening the existential tension and psychological depth; without color to distract the eye, the focus shifts entirely to the interplay of light and shadow, the cold textures of concrete, and the crumbling geometry of the environment.

Analogous

Analogous colours are groups of colours that sit next to each other on the colour wheel, sharing a common base hue which makes them harmonious when used together, These colour schemes are often occuring in nature so it’s easy to take advantage of them in lanscapes and exterior shots, generally they can be used when visual unity, instead of contrast, supports the desired mood.

Project Highlight

Ana

For ANA we chose to use an analogous colour palette for the majority of the film to establish a sense of seamless visual harmony and atmospheric immersion within the film’s high-tech, industrial setting. This allowed us to craft an environment that feels deceptively serene yet intellectually cold.

By utilizing teals, greens, yellows and slate grays we were able to create a world that feels unified and consistent, mirroring the pervasive, all-encompassing nature of the AI itself and ground the sci-fi elements in a believable, organic realism.

This subtle approach reinforces the narrative of “betrayal by design” where the AI doesn’t feel like an external threat but rather a natural, integrated extension of the factory’s architecture and the protagonist’s crumbling reality.

Complementary

Complementary colours are oppsite to each other on the colour wheel, meaning they always combine warm and cold tones. This creates high-contrast and visual energy, makes key elements pop, increases depth and heightens emotional response.
Psychologically warm colours create excitement or tension, while cool colours can calm or unnerve depennding on the context.

Project Highlight

Kia Joyride

For the Kia Holiday Joyride project we carefully picked colours that create a vibrant, high-energy environment that captures the wonder of the season through maximum visual contrast.

By pairing opposites we were able to generate a natural visual pop that makes the magical elements of the ride stand out, this strategic use of complementary colours was essential in keeping the children’s focus locked on the action.

By saturating the journey with these bold, clashing hues, we ensured that the hero elements were instantly readable, allowing the children to be fully swept up in the narrative and experience every single moment of this sensory-rich, magical experience.

Triadic

Triadic colours are groups of three colours evenly spaced around the colour wheel. They can all be used together, usually with one being dominant and the others accented, or also in sets of two. These pairings create a balanced but very vibrant palette and can be used to highlight energy and dynamism.

Project Highlight

UFC Rituals & Traditions

The colours choice for UFC Rituals & Traditions was driven by capturing the soul of Mexico’s vibrant heritage and translate it into a high-energy, visually striking experience.

By leaning into the deep oranges, the rich purples and the vivid greens of elements like the marigolds, the cerimonial offerings, the traditional folk art, we were able to achieve a dynamic equilibrium that feels both balanced and incredibly intense.

By using one dominant hue to ground the ancient cave and the others as bold accents, we created a visually rich explosion of color that highlights the energy and dynamism of the Day of the Dead, ensuring every ritualistic artifact and carnival puppet pulsates with life as the camera pulls back through the cave.

Discordant

While harmonious schemes create clarity and balance, we sometimes deliberately use discordant palettes, pairs that clash or sit at oblique angles on the colour wheel. By introducing clashing or unexpected hues we can focus the viewer’s eye and bring attentionto a character, a detail or make a pivotal moment stand out.

Project Highlight

Guinness Africa

For the Guinness Africa campaign we chose to play with discordant colours to capture the disruptive energy and vibrant, non-conformist African spirit.

Discordance allows us to break the rules of the colour wheel, intentionally pairing clashing or oblique hues that jar the eye and command attention. In this film, these unexpected colour breaks, such as neon accents against earthy backdrops or clashing textile patterns, serve to refocus the viewer’s eye on the raw physicality of the dancers and the intricate details of the fashion.

This deliberate dissonance creates a sense of visual vibration, which heightens the psychological impact and ensures the brand’s message doesn’t just blend into the background but instead feels urgent, modern, and explosive.

Colour theory in media blends art, psychology and visual storytelling. Combined with an understanding of how humans emotionally respond to colour, these tools allow us as filmmakers and CG artists to craft powerful, memorable visual narratives. Colour doesn’t just enhance a scene, it speaks. And when used intentionally, it becomes one of the most powerful elements in storytelling.

Get in touch

Reach out for an online presentation to learn more about how we can use colour to add value to your film or experiential project.