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Movie, INSIDE OUT Reminds Us How to Train Your Brain to Manage Your Emotions

Recently, I wrote about the new Pixar Movie "Inside Out"  The film educates children on how their emotions effect them and how they can honor emotions in others.  And the article below my post shares how to train your brain to manage your emotions. First I wanted to share that there is one particular effective scene in the movie in which the character Sadness listens to the character Fear and helps him deal with his pain by mirroring his body language and reflecting his emotions.  Yes, a cartoon charterer used "Mirroring" and Reflective Listening."  A powerful message in the movie is that the emotion of sadness can be a important part of life and can actually move you to reflect on your life and make changes. I didn't begin to learn that until I was in college and my father passed away. How incredible for a small child to know that sadness does not make them bad, unlikable and less than.
Here is more advice about how manage your emotions.
Pixar's 'Inside Out' Reminds Us to Manage Emotions by Training Our Brain By Richard J. Davidson, Professor of Psychology and Psychiatry.
Posted: 07/24/2015 10:28 am EDT Updated: 07/24/2015 11:59 am EDT

If you could look at your own personality, which emotion leads others in managing your mind's control room? Joy? Fear? Disgust? Anger? Sadness?

Through the lens of the new Pixar movie "Inside Out", Joy calls the shots in the mind of the 11-year-old protagonist named Riley. In fact, this positive emotion -- personified by actress Amy Poehler -- finds it hard to step aside when other emotions are in many ways more appropriate for the situations Riley finds herself in, including moving to a new city and navigating school and friends.

The role emotions play in our lives has driven my research for 30 years and motivates the search for an answer to why some people seem more resilient than others to life's slings and arrows. What is it about the resilient group that helps them better overcome adversity?

To begin to answer this question, we've taken a look at how these emotions work in the brain in a laboratory setting with tools such as fMRI scanners. Over time, we've not only documented that people indeed have emotional styles and predispositions, but there are also techniques that show great promise in helping adults and children to alter their emotions to improve well-being and decrease suffering.

Thanks to neuroplasticity, perhaps the most influential idea in the past several decades in neuroscience, we know that the brain's structure and function can change throughout life, even as adults. It means you can train your brain to better manage which emotions surface when and for how long. So how do you move emotions like anger and sadness to the backseat to make room for more joy and to increase well-being?

Joy
There is growing neuroscientific understanding of joy and happiness, and one of the important things we've learned has to do with what might best be called "savoring" --- the capacity to savor a positive experience and to allow it to permeate your activities and give a positive glow to everyday interactions. We've learned that while people with depression show normal activation in the circuitry of the brain associated with joy, it's transient and does not persist.
People with the capacity to persist in activating these brain regions critical for positive emotion and who can sustain this activation more over time report higher levels of well-being and exhibit lower levels of the stress hormone cortisol.
One way to cultivate joy and to activate this region of the brain involves reflecting on what I've called "innate basic goodness"-- the human propensity to desire happiness and be free from suffering. All humans share this same basic quality, and we bring this to the fore in all of our interactions. It enables us to respond to those around us in ways that maximize their and, in turn, our own well-being.
Fear, Disgust and Anger
The neuroscientific bases for fear, disgust and anger share some similarities and have two key things in common: the amygdala and its role in recovery. The amygdala is a structure in the brain that gets your "fight-or-flight" mechanism going. It signals to the rest of the body when something's salient or wrong, whether it's a car that veers a little too close to the sidewalk (fear) or the mere thought of broccoli pizza (disgust) in the eyes of a preteen.
It's normal and healthy to show a context-appropriate response -- an emotion that is adaptive in a particular situation -- but you don't want these emotions to linger beyond the point when they're actually useful. We know that mindfulness meditation can be helpful in regulating these emotions. Such training results in less anticipatory worry toward pain and a faster recovery following negative or uncertain events.
Anger, however, poses even greater dangers if left in charge. Research has suggestedthat anger is biologically toxic and can have harmful effects on the cardiovascular system, increasing a person's risk for a heart attack. In many cases, anger arises when our goals are thwarted. The challenge is to harness the energy that may be associated with anger and figure out ways to work around the obstacle rather than banging your head against it.
Sadness
Unlike anger, contextually-appropriate sadness is not toxic to the body; however, in circumstances where sadness holds the reins unnecessarily, people can develop depression. To manage sadness, there's an approach that may sound strange at first -- generosity. We are often saddened by tragic circumstances, by all the hardships that people have to endure, and being able to help others to relieve suffering contributes to others' well-being and our own. It also helps us to take the perspective of others and directly see that we are not the only ones who are suffering. Generosity is a very direct antidote -- neuroscientifically-speaking -- to sadness, and it activates circuits in the brain associated with joy.
As we navigate through our day and encounter people who look like they are having a difficult time (such experiences have become all too common during my frequent travels), we can do a simple mental exercise by looking at each person and reflecting on how, just like us, they share the same basic wish to be free of suffering. During those moments, we can say a simple phrase to ourselves such as, "May you be free of suffering and the causes of suffering."
In addition to mental exercise, recent findings indicate that physical activity may help prevent depression. Moreover, aerobic exercise is one of the best ways to increase brain plasticity, and if accompanied by positive psychological input that can be generated through the types of mental exercises noted above, the combination can be particularly effective.



 As a body language expert I knew I was going to be intrigued with the way each emotion was animated. I thought about all the research I have studied over the years about emotion and facial expressions done by Dr. Paul Ekman. Patti Wood, MA, Certified Speaking Professional - The Body Language Expert. For more body language insights go to her website at www.PattiWood.net. Check out Patti's website for her new book "SNAP, Making the Most of First Impressions, Body Language and Charisma" at www.snapfirstimpressions.com. Also check out Patti's YouTube channel at http://youtube.com/user/bodylanguageexpert.

Famous People Who Admit to Nervousness and Stage Fright

Famous People Who Admit to Nervousness and Stage Fright

Show me a person who says, “I never feel nervous when I go to present,” and “I’ll show you an “automatic presenter.”

Some of the world’s most famous presenters freely admit to nervousness and stage fright—

Benedict Cumberbatch - He is so adorable, and his portrayal of Sherlock Holmes a marvel. And I loved him in The Imitation Game. He does, like Hugh Grant, often play bumbling and or odd characters so he can channel his nervousness into the part.


Adele - That booming voice, and she still gets scared.


Bob Dylan - That incredible creative man has stage fright. I get he has a bad voice, but he is a poet/lyricist of great magnificence.


Jason Alexander - He acts nervous all the time, how can he tell? By the way did you see him in the TV version of Bye Bye Birdie? Lots of fun.


Maya Angelou - She writes magnificently and has that amazing voice, but she also has stage fright.


Hugh Grant - There is a great interview on YouTube where he talks about it. Look up Graham Norton Show Hugh Grant Stage Fright. He talks about he even gets it working on animated films!


Annie Lenox - She says she gets over it by enjoying the moment. 


Brian Wilson - (The Beach Boys) Receives shoulder and neck rubs and prays before his concerts.


Sir Lawrence Olivier - Yes, one of the greatest actors of all time had stage fright.


Barbara Streisand - (singer and actress) I have seen her perform live. She had not done a live performance in years. She is wonderful, and you can see that she is a bit shy but she uses humor to overcome her fear.


Nicole Kidman (actress) - I was surprised. In her roles she always comes across as a bit plastic. I don’t see the vulnerability other people seem to see.


Michael Douglas - (actor) Yes, surprising.


Alfred Hitchcock - (director) I took a film class on him and read several biographies. As a child his mother was ill, and made him come home from school every day and stand at the end of her bed and report on his day. That would strike fear into anyone’s heart.


Winston Churchill - He dealt with it by drinking!


John Cougar Mellancamp (musician, actor)

William Shatner - He just keeps taking risks, and darn I admire that. If you can find the TV show where he and his wife remodel their home, you will be charmed with his boundless enthusiasm. I think that helps him as well. 

Patti Wood, MA, Certified Speaking Professional - The Body Language Expert. For more body language insights go to her website at www.PattiWood.net. Check out Patti's website for her new book "SNAP, Making the Most of First Impressions, Body Language and Charisma" at www.snapfirstimpressions.com. Also check out Patti's YouTube channel at http://youtube.com/user/bodylanguageexpert.

#TheEmptyChair Amplifies Conversation About Sexual Assault, Bill Cosby and Sexual Assault


#TheEmptyChair Amplifies Conversation About Sexual Assault


The cover story of this week's New York magazine is getting a lot of attention.
It features 35 women seated in chairs and one empty chair. The women are all dressed in black, looking straight ahead with both hands resting on their knees. It is a stark image, and all the more compelling because each of them is openly and by name accusing Bill Cosby of horrendous acts. Some say they were drugged and raped; others recount stories of narrowly escaping sexual assault.
But what has really hit a nerve is the empty chair in the photo. The chair has sparked a powerful conversation online, including a viral hashtag #TheEmptyChair.

NPR's Renee Montagne spoke to Hanna Rosin, author of The End of Men: And The Rise of Women, about the significance of the hashtag and how it's shedding light on a movement of people speaking publicly and frankly about experiences with sexual assault.

Interview Highlights

On the symbolism of the empty chair
It serves so many purposes. First, it's a rebuke, like a classic rebuke. You know, here ... history, America, the patriarchy, whatever you want to call it, has made it difficult for women to speak their truth. So there's a chair that represents silence, something that didn't happen. It's also the opposite of that, which is an invitation, you know: "Come sit in this chair." ... Social media, the hashtag "EmptyChair" basically is saying, "All of you, it's time to speak up now. Walk up to this chair, sit down like the rest of us. There's a sisterhood here, waiting to greet you and share your stories."
On the visual effect of the cover
This is technically a story about Bill Cosby, but when you look at the cover, visually it transmits something different. There are women of all ages, ranging from 40 to 80; there are women of all races on this cover. There are women of all visual styles; they're all wearing black, but they're not wearing the same dress. ... So what this is saying is assault can happen to anyone. Here's a historical archive, not just of Bill Cosby's actions, but of women who have been assaulted generally.
On what struck her about the hashtag
I guess what struck me is the phenomenon that you can trace people's stories back to them. You know, Twitter is completely public. This is not a private forum for women to gather together. This is not one woman sort of clearing her throat and bravely coming forward. This is people under their own names, under their Twitter handles, saying this happened to me or a version of this happened to me or even just cheering the women on.
On whether #TheEmptyChair moment will last
I think this moment is going to last. ... [It] is unresolved and very interesting and, right now, intention. I'm not talking about the Bill Cosby story anymore. ... The way this story has come out, apart from the Cosby story, is sexual assault on campus. And right now I think you have this moment where woman feel simultaneously very vulnerable. ... There's been so much news about sexual assault on campus. That's a story that really has invigorated the feminist movement in the last couple of years. On the other hand, women also feel empowered. ... The best example of this is Emma Sulkowitz, a recent graduate of Columbia University. ... She wants people to pay attention to her abuse. ... She's also owning her abuse, turning it into art, really identifying herself with it and using it to make a statement.
On how #TheEmptyChair connects to issues of sexual assault on campus
The cover and the empty chair tie this whole story together. Because the cover is historical — you see that the women are a bit older. And then the empty chair ties into social media — that taps into the sexual assault on campus movement. So you've got ... a kind of feminist history put together from beginning to right now.

Link to the actual article:
http://www.npr.org/2015/07/30/427458729/-theemptychair-amplifies-conversation-about-sexual-assault


Patti Wood, MA, Certified Speaking Professional - The Body Language Expert. For more body language insights go to her website at www.PattiWood.net. Check out Patti's website for her new book "SNAP, Making the Most of First Impressions, Body Language and Charisma" at www.snapfirstimpressions.com. Also check out Patti's YouTube channel at http://youtube.com/user/bodylanguageexpert.

Dress Code If You Are Going To Court

Dress Code If You Are Going to Court
Just so you know, no bedroom slippers if you are going to court, whether you are the defendant, a witness or  if you are going to be a juror.
The dress code may be different “up north” but down here in the south we like ‘em” to dress up, bless our hearts, I am sure glad about that.
Georgia Courts Enforce Dress Codes
Suzanne Monyak, Daily Report
July 6





















Gerald Weber John Disney/Daily Report

If you are planning on entering a Georgia courthouse this summer, leave the tank tops and shorts at home.
Different courthouses have different rules, though the Bibb County Courthouse in Macon seems to have one of the toughest policies—and the most detailed.
According to the dress code posted on its website, many things are prohibited, including: tank tops, halter tops, sleeveless T-shirts, muscle shirts, shorts, ripped jeans, low-riding pants, camouflage clothing, sweatpants and track suits, more piercings than one earring per ear, hats (except for religious purposes), bedroom shoes or slippers, and clothing that is either too baggy or too tight, as well as clothing with obscene or gang-related images or symbols. The policy also mandates that skirts may be no shorter than two inches above the knee, all women and post-pubescent girls must wear bras, all pants must be supported by a belt or suspenders, and all shirts and blouses must be tucked in. Undergarments, the abdomen and cleavage may not be visible.
"This is a place of business and in a place of business, proper dress should be worn. The court should have more respect than to dress inappropriately in their [the judges'] presence," said Major Harry Colbert of the Bibb County Sheriff's Office, who is in charge of the courthouse dress code policy.
According to Colbert, about one person a day is turned away from the courthouse for a dress code violation, most commonly young men wearing shorts or sagging pants, he said. However, due to recent media coverage of the courthouse's dress code policy, he said that number has been reduced to about two to three dress code violators a week.
Colbert said that if an individual is only attending to business in the clerk's office of the Bibb County Courthouse—located on the first floor away from the courtrooms—the deputy at the courthouse may employ more leniency to the rules at his or her discretion. Additionally, if a dress code violator has been subpoenaed to court and does not have time to go home and change clothing, the deputy will make an exception and allow the individual into the courthouse.
A similarly thorough dress code policy was ordered by the district court judges for all courthouses in the Southern District of Georgia, which includes the courthouses in Augusta, Brunswick, Dublin, Savannah, Waycross and Statesboro. This policy, signed by Chief Judge Lisa Godbey Wood in January 2014, bans from the courthouses bare feet, shorts, tank tops and sleeveless shirts, belly-baring tops, offensive clothing and tattoos, and clothes and body parts that are dirty.
The judicial order goes further to provide an additional dress code for those entering a courtroom. Males must wear trousers, a collared shirt, shoes and socks. Females must wear slacks, dresses or skirts no shorter than two inches above the knee, and shirt sleeves must be at three-quarter length and have a "business-like appearance." Jeans are prohibited in the courtrooms.
In Fulton County Superior Court and DeKalb County Superior Court, there is no specifically enforced dress code policy, but rather a set of guidelines for the public to use as suggestions. It is at each individual judge's discretion to enforce a dress code in his or her own courtroom.
According to Gerry Weber, senior staff counsel at the Southern Center for Human Rights and an adjunct law professor specializing in constitutional litigation and First Amendment law, certain dress codes could be a violation of the public's right of access to courts, depending on how that dress code is enforced. For example, he said, if the dress code is vague and the court fails to provide the public with sufficient notice of the rules, the public could be unjustly blocked from observing a public hearing.
Weber noted that just posting the dress code on the courthouse website would not be considered sufficient notice.
"It's not sufficient for people who don't have Internet access or don't know to go on the website," he said.
He added that if an individual arrives at court to observe a hearing and is asked to go home and change, in his view, the hearing should not be conducted in his or her absence.
Hollie Manheimer, executive director of the Georgia First Amendment Foundation, expressed her concerns for the possibly subjective nature of a dress code, which at the Bibb County Courthouse is enforced by deputies.
"While courts may impose reasonable restrictions on dress, any dress code or policy should not be used to deter citizen access to any courthouse. Also, when applied, any dress code or policy must be applied evenly, and cannot be used to bar someone a sheriff, marshal or other court official simply does not like," Manheimer wrote in a comment. "While not usually problematic on their face, the application of policies such as these is very difficult and as a result sometime unfairly deny citizens access to courtrooms."


Patti Wood, MA, Certified Speaking Professional - The Body Language Expert. For more body language insights go to her website at www.PattiWood.net. Check out Patti's website for her new book "SNAP, Making the Most of First Impressions, Body Language and Charisma" at www.snapfirstimpressions.com. Also check out Patti's YouTube channel at http://youtube.com/user/bodylanguageexpert.

Emotions in "Inside Out" Movie, Dr. Paul Ekman and Science of Emotion

I just saw the new Pixar Movie "Inside Out" and the body language  in it was wonderful and I absolutely loved it. It is touching and heartwarming film that educates children on the role of emotions and memory in our lives.  There is one particular effective scene in the movie in which the character Sadness listens to the character Fear and helps him deal with his pain by mirroring his body language and reflecting his emotions.  Yes, a cartoon charterer used "Mirroring" and Reflective Listening."  A powerful message in the movie is that the emotion of sadness can be a important part of life and can actually move you to reflect on your life and make changes. I didn't begin to learn that until I was in college and my father passed away. How incredible for a small child to know that sadness does not make them bad, unlikable and less than. As a body language expert I knew I was going to be intrigued with the way each emotion was animated. I thought about all the research I have studied over the years about emotion and facial expressions done by Dr. Paul Ekman.
I was pleased to see he was consulted by Pixar for the move.
Here is an article on the science of emotions in the movie Inside Out.


Near the end of the closing credits of Pixar's Inside Out reads the line:
Special thanks to Dr. Paul Ekman and  Dacher Keltner for guiding us through this emotional journey.
Paul Ekman is well known to most readers as the father of FACS, the facial animation coding system that is now the cornerstone of facial animation rigs/blend shapes, and Dacher Keltner teaches at University of California, Berkley. Director Pete Docter (Monsters, Inc., Up), first learned about FACS and the work of Paul Ekman while serving as a supervising animator on the original Toy Story. Pixar used FACS even then as part of their animation process. Keltner's work came later, as he actually studied under Ekman (three years of post-doctoral work) and his research has led him to be a professor of psychology at Berkeley, where he directs the Berkeley Social Interaction Lab. His research focuses on the biological and evolutionary origins of compassion, awe, love, and beauty, and power, social class, and inequality. Keltner is also the co-director of the Greater Good Science Center. “I’ve spent 25 years of my career studying human emotion,” he says. “I’m interested in how we express emotions in our faces, voices and in touch.” Keltner influenced the idea of emotions playing off one another and almost co-existing, the fine line one has between emotions and how they are all key to a balanced individual functioning with others in a social or family group.
Much of Inside Out takes place inside the "Headquarters" or control room of 11-year-old Riley. There we follow her five Emotions all hard at work trying to make sense of the world. There is no universally agreed finite set of emotions. In fact, most people struggle to even define what emotion is or rather the boundaries of it. Like a mountain - most people can tell when they are on top of a big one - but where it actually starts or stops is rather harder to say. Given the lack of even a solid definition of what is or is not an emotion, Doctor turned to Ekman's research which states there are six fundamental emotions - joy, fear, disgust, anger, sadness and shock. Docter decided to fold shock into fear and the film had its five lead character emotions. Docter, himself a father, watched his own daughter enter her teen years and so felt this set the stage for some great character animation.
Before ending on the final five, the team did experiment with other characters such as Pride, "He would come in and say - 'Oh Joy I noticed no one applauded when I walked in the room' - very snooty with an upturned nose," explained Docter talking in Sydney recently. "Dr. Keltner’s work suggests that there are 21, with emotions like boredom, contempt, and embarrassment. There were so many possibilities in terms of character. It was fun to explore. We ultimately landed on five Emotions that pretty much make all of the researchers’ lists.”

Some of the rejected characters that the team explored along the way included "Schadenfreude - you know with a German Accent - "Your cries of pain amuses me!" Docter jokingly explained, but in the end the six key Ekman condensed into five seemed the right cinematic number. "Five seemed like a good group, as Surprise seemed like he might be a bit of a one-note character - just surprised all the time!".
In the film, there are these 5 emotional characters and also 'real world' characters such as Riley's parents. To present them differently the 5 emotions are not solid in their final render but rather boiling or constantly fizzing based on the idea that these emotions are in the mind and made therefore of energy, not solid matter. To add to the rendering complexity, the lighthearted and optimistic Joy (voice of Amy Poehler), emits lights. All of the other emotions - Fear (voice of Bill Hader), Anger (voice of Lewis Black), Sadness (voice of Phyllis Smith)   and Disgust (voice of Mindy Kaling) have the boiling skin in varying degrees, and to complete the challenge all the female character has strongly anisotropic iridescent hair.
When Riley's family relocates to a scary new city, the Emotions are on the job, eager to help guide her through the difficult transition. But when Joy and Sadness are inadvertently swept into the far reaches of Riley’s mind—taking some of her core memories with them—Fear, Anger and Disgust are left reluctantly in charge. Joy and Sadness must venture through unfamiliar places—Long Term Memory, Imagination Land, Abstract Thought and Dream Productions—in a desperate effort to get back to Headquarters, and Riley.
Director Pete Docter explaining the fundamental shapes of the 5 emotions in Sydney this week
Docter and the team designed each of the characters as representative shapes - Anger is, for example, a block - Fear is a raw nerve, long and angular, Sadness is an upside down teardrop, Disgust is based on a spear of broccoli and Joy is an explosion or star.
When it came to Joy (and the rest of the Emotions), the production team was committed to getting it right, committing resources, technology, imagination and research. “It’s all about the Emotions—they’re running the show,” says Docter. “We can control how we act, but we don’t get to choose how we feel.”


Joy


“The look and design of the Emotions had to remind people that they are personifications of feelings,” says Docter. “They’re not little people. They’re Emotions. They’re made of energy—they’re made up of thousands of particles, which kind of looks like energy. We wanted to capture what emotions feel like—the shapes, the colors—as well as their personalities.”
Albert Lozano, character art director, was inspired by production designer Ralph Eggleston’s early efforts. “The way that the chalk spattered on Ralph’s pastels, it reminded me of bubbles. Joy is effervescent. ... I do a lot of collage work, so I took the image of a sparkler, added a face, legs and arms, and that felt like Joy to me, too. I knew she had to emit joy.”
Filmmakers called on effects supervisor Gary Bruins and his team to figure out how to showcase that energy. “Pete wanted Joy to have particles that radiate and shoot off her skin throughout the entire film,” says Bruins. “That meant creating an effect that would appear in hundreds and hundreds of shots. It had never been done before.”
Joy, whose eyes have at least twice as many controls as any Pixar character before her, also serves as a light source, casting a yellow-blue glow around her. According to global technology pro Bill Reeves, a whole system needed to be built to achieve the look filmmakers wanted. “We tried dozens of ways of creating Joy’s glow and ended up with a volumetric solution. But since she’s in so many scenes, we needed to configure the software to be able to compute it.”
Perhaps the biggest challenge, however, when it came to lighting for Inside Out was Joy herself. The filmmakers felt that an Emotion that represents happiness should light up a room—literally. So Joy—who appears in nearly every sequence set in the Mind World—is actually a light source. “The problem is that if you take a picture of a lightbulb,” says White, “it’s just a flat bright thing. There’s no definition. We wanted Joy’s face to be round and appealing.” Angelique Reisch, who served as one of the lighting team’s lead technical artists, was brought on early in the production to tackle the challenge. Reisch took her lead from production designer Ralph Eggleston and the art department. “There was one pastel Ralph did early on that’s absolutely stunning,” she says. “He created an inner glow that’s really bright—brighter than her outer glow—and colored one side pink and one side white. It was beautiful.” The pastel inspired the team’s use of hue versus value to achieve the desired shaping of Joy’s features.
The use of color—lightest yellows to richer oranges and even red—does for Joy what adjustments in value traditionally do for a character. Joy as a light source presented some challenges that called for new technology. Inside Out became the first film to employ the use of a geometry light. "The geometry light was pretty interesting - we did not actually have access to that when we started developing joy - we heard that RenderMan was working on Geometry lights and it did not sound like it was going to be ready for us to use in production and if ever there was a film to use it on...this was the film!!" laughingly recounts Reisch.
After some internal discussion and some key discussions with the RenderMan team, they got the geo light working early and they used it in the production, but even so some scenes had been completed. "We actually went back into a sequence we had already lit using more of a mock set up of her light done with a series of sphere lights to mimic her head, her body and her limbs, but those were cumbersome and did not have nearly the sort of beautiful detail the geo light has - and it was more expensive. It was just beautiful - I can't say enough good things about it". With the new geo light, once the light was set up there was a small amount of tweaking but on the whole it just worked, and even as the scenes and environments changed, the same setup worked with Joy throughout the film.
With glowJoy only emits from her body, and it is emitting only from her body skin, not her hair, or clothes etc. In addition to the emitting light, there is a secondary volume around her, which while appearing as perhaps a post-production glow, is actually done in the same primary render pass as the principal character animation. Joy actually has two glows, her outer glow is a blueish volume, and then a strong but tight glow on her body which is interestingly "white on her key light side and saturated pink on her off-key side - that is also a volume and we called that her inner glow," explains Reisch.
If a character approaches Joy they are lit only by the yellow emit light, her blue hues don't affect any props or other characters. That decision was made to avoid complex and confusing color mixing that might be 'accurate' but work against the overall lighting design of the characters. Joy also does not cast a shadow. “We came up with a different approach for her," says Reisch. "The other Emotions receive light like any normal character would—master lighting from the set, plus some special lights for their glow and their volumes. But Joy has her own special rig, so she’s emanating light onto them. And she doesn’t receive light—like from the screen in Headquarters. Other sources of light don’t affect her because she is the brightest source."
With glowWithout glowWith glow
Like a good glass of champagne, Joy is also effervescent. Beneath the volume—the particles that make up the Emotions—is a body surface. “We blended her surface shading to give her that effervescent look,” says Reisch. “We also came up with tools and lighting so the lighters could work with the hard-surface version of Joy versus the volume version. That made her faster to light.” The effect is procedural, "those are geometry that are generated at render time, they were simulated to move around on her skin, and that work was done by the character department, but of course we worked very closely with them."
Each character had a different version of the boiling effect or what Pixar called 'solidity', Anger is the most solid, vs. Joy and Fear have their particles emanating out more "because they are more 'volume' (than solid) - for example, on Fear's nose the particles come out really far, and off his nose, and on joy we went so far as to basically have her wrist transparent, and that was very intentional - it was something that Pete (Docter) wanted to see in the film, to give the idea they were made of energy particles, to look how our emotions feel - our emotions change even as we are standing still - and so the characters change even as they are standing still."
Without the edge simulationWithout the edge simulationLighting finalLighting final
The other interesting aspect of the female characters, is their iridescent hair. Pixar first used iridescence on the hair of Kevin in UP. But since then the Pixar pipeline has moved to global illumination and the hair of these characters required the anisotropic iridescence shader to be rewritten from scratch with several revisions to balance the shininess and other properties, and even the hair and their hair to body shadows break up with the solidity effect.
Pixar managed to render all the characters together, without having to break out separate renders for the hair or the particle/solidity effect or even its glow. The team worked hard to reduce the render times and allow this more one pass approach. It has been a joke in the industry for some time that the easiest job in the world is being a compositor at Pixar as the TDs and lighting teams tend to nail the image in the render - in the one primary pass. This is changing on some of the newer films but for Inside Out it was still true. The rendering was in a version of PRMan with the geo lights and still using the Reyes renderer at the core.
Reisch feels that the biggest advantage of this approach is the consistency it provided to the characters, their glows were always the same, characters such as Joy held up in different lighting environments say between the memory dump and Headquarters, and also at different scales of the character in frame. "Of course her glow is going to look like it falls off quicker in a bright environment but the values were the same."
One challenge visually was 'abstract thought', the point in the film where several of the characters needed to be rendered in first a more cubist way and then finally as just 2D elements. Reisch and others were initially worried that this might pose complexity issues, but in reality it turned out to be more simple. "Once they pop into their solid version, which happens from their first pop - their first change, we just used a dome light - like an ambient light, with a very simple shadow. Joy's fancy light rig and all these tricks we have done to get things working in the rest of the film - actually becomes incredibly simple it is a very simplified setup, no more glow. We were all kind of worried about that sequence because of all the transitions but it ended up not being as tricky as we thought."
The World
Not only did the characters have to be lit and rendered but the two worlds of the film, the interior world of the mind and the more traditional human 'real' world that Riley inhabits.
inside-out-progression_image_4of7_Sets
While only on screen for a very brief period there is a sequence of 'classic' Pixar environments on the trip to San Francisco. Shots like these are hard as they are one off shots as part of a montage of the family driving west and yet each one was beautifully lit and clearly lovingly crafted, these shots were around mountains, across corn fields and eventually arriving at the Golden Gate bridge (which disappointingly to Riley was not made of gold).
Pixar's master lighting artist on these sequences was Josée Lajoie. "She lit most or all those one off shots, and they are beautiful, she did a lot of hard work, and for each of these she had to build them all up from scratch," explains Reisch.
The scenes were lit by a dome light for a fill light, the team may then add some spot lights to just add come color, and then for the key lights Lajoie used area lights, often a disc area light. Pixar has well-understood set ups for the sun which encompasses angle, time of day, color etc that mimics sunlight. After that the shot gets much more built up with bounce lights and character lights for the family in the car, plus "kicks and rims and all the atmosphere we need," says Reisch, "but primarily it is a combined approach of dome lights and disc area lights."
inside-out-d150_28acs.sel16.314
As a general rule the lighting team tries to light the characters from the light of the scene, certainly the fill light is normally from the environment. This is done to look the most natural, but in the case of characters in the car say, Reisch explains that "they will share the fill light from the set but they are each going to have their own key light, adjusted to get special shaping on each of them, because each of their face shapes is a little bit different, and probably we add some kick lights and rim lights to just pull them out of the background a little bit."
When the family is in San Francisco the lighting was more similar to Monsters University than other Pixar films such as UP - just because since Monsters University the approach has been global illumination, with physically based lighting and shading. But unlike MU the team had to light human skin with more realistic Sub Surface Shading (SSS). In this film the team used ray tracing SSS as opposed to the previous approach of having a pre-pass model of scattering. "It worked out great," says Reisch, "and we did not pay the price of that pre-pass and to just have it ray traced and add its nice softening around the character's noses and ears - and the fine detail on their faces."
Pixar's lighting team is presenting several papers on the characters and the lighting at SIGGRAPH 2015 in LA.

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Patti Wood, MA, Certified Speaking Professional - The Body Language Expert. For more body language insights go to her website at www.PattiWood.net. Check out Patti's website for her new book "SNAP, Making the Most of First Impressions, Body Language and Charisma" at www.snapfirstimpressions.com. Also check out Patti's YouTube channel at http://youtube.com/user/bodylanguageexpert.