Pixel Art Coloring Pages I Love Lucy in Color

Process of adding color to monochrome video

This article is about colorization of monochrome moving-film images. For colorization of withal images, see Hand-colouring.

Motion-picture show colorization (American English; or colourisation [British English], or colourization [Canadian English and Oxford English language]) is any process that adds color to black-and-white, sepia, or other monochrome moving-movie images. Information technology may exist done equally a special event, to "modernize" black-and-white films, or to restore color films. The first examples date from the early 20th century, but colorization has go common with the advent of digital image processing.

Early on techniques [edit]

Mitt colorization [edit]

The first film colorization methods were hand washed by individuals. For case, at least 4% of George Méliès' output, including some prints of A Trip to the Moon from 1902 and other major films such as The Kingdom of the Fairies, The Impossible Voyage, and The Barber of Seville were individually hand-colored by Elisabeth Thuillier'due south coloring lab in Paris.^[1] Thuillier, a former colorist of glass and celluloid products, directed a studio of two hundred people painting straight on motion picture stock with brushes, in the colors she chose and specified; each worker was assigned a dissimilar color in assembly line manner, with more than 20 split colors often used for a single film. Thuillier's lab produced about sixty hand-colored copies of A Trip to the Moon, but only one copy is known to still exist today.^[2] The first total-length characteristic film made by a hand-colored process was The Miracle of 1912.

The procedure was always done by hand, sometimes using a stencil cut from a second print of the film, such every bit the Pathécolor process. Equally tardily as the 1920s, hand coloring processes were used for private shots in Greed (1924) and The Phantom of the Opera (1925) (both utilizing the Handschiegl color procedure); and rarely, an entire feature-length moving-picture show such as Cyrano de Bergerac (1925) and The Last Days of Pompeii (1926).

These colorization methods were employed until effective color pic processes were developed. During the late 1960s and the early 1970s, black-and-white Betty Boop, Mickey Mouse, and Looney Tunes cartoons were redistributed in color. Supervised by Fred Ladd, colour was added by tracing the original black-and-white frames onto new animation cels, and then calculation color to the new cels in S Korea. To cut time and expense, Ladd'south process skipped every other frame, cutting the frame charge per unit in half; this technique considerably degraded the quality and timing of the original animation, to the extent that some animation was not carried over or mistakenly altered. The most recent redrawn colorized black-and-white cartoons are the Fleischer Studios/Famous Studios' Popeye cartoons, the Harman-Ising Merrie Melodies, and MGM's The Captain and the Kids cartoons, which were colorized in 1987 for ambulation on the Turner networks.^[3] With computer engineering, studios were able to add colour to black-and-white films by digitally tinting single objects in each frame of the moving-picture show until it was fully colorized (the first authorized reckoner-colorizations of B&Due west cartoons were commissioned by Warner Bros. in 1990). The initial process was invented by Canadian Wilson Markle and was kickoff used in 1970 to add color to monochrome footage of the moon from the Apollo plan missions.

Digital colorization [edit]

Computerized colorization began in the 1970s using the technique invented past Wilson Markle. These early on attempts at colorization have soft contrast and fairly pale, flat, done-out color; however, the engineering science has improved steadily since the 1980s.

To perform digital colorization, a digitized copy of the all-time black and white film print bachelor is used. With the assistance of estimator software, technicians associate a range of gray levels to each object and indicate to the computer any movement of the objects inside a shot. The software is besides capable of sensing variations in the light level from frame-to-frame and correcting it if necessary. The technician selects a colour for each object based on common "retentivity" colors—such as blue sky, white clouds, flesh tones, and green grass—and on any information well-nigh colors used in the picture. If color publicity stills or props are available to examine, accurate colors may be practical. In the absence of whatsoever amend information, technicians may choose colors that fit the gray level and are consequent with what a director might take wanted for the scene. The software associates a variation of the basic colour with each gray level in the object, while keeping intensity levels the same every bit in the monochrome original. The software then follows each object from frame to frame, applying the same color until the object leaves the frame. As new objects come into the frame, the technician must associate colors to each new object in the same way every bit described to a higher place.^[4] This technique was patented in 1991.^[5]

In order to colorize a still image, an creative person typically begins by dividing the image into regions, and then assigning a colour to each region. This approach, also known every bit the segmentation method, is laborious and time-consuming, especially in the absence of fully automatic algorithms to place fuzzy or complex region boundaries, such as those between a subject's hair and confront. Colorization of moving images also requires motion compensation, tracking regions equally motility occurs from one frame to the adjacent.

Several companies claim to take produced automatic region-tracking algorithms:

• Fable Films describes their core technology as pattern recognition and background compositing that moves and morphs foreground and background masks from frame to frame. In the procedure, backgrounds are colorized separately in a single composite frame which functions as a visual database of a cut, and includes all offset information on each camera motion. Once the foreground areas are colorized, background masks are applied frame-to-frame.
• Timebrush describes a process based on neural net applied science that produces saturated and crisp colors with clear lines and no apparent spill-over. The process is cost effective considering information technology relies on computers rather than human being effort, and is as suitable for low-budget colorization and broadcast-quality or theatrical project.
• A team at the Hebrew University of Jerusalem's Benin School of Computer Science and Engineering describe their method every bit an interactive procedure that does non crave precise manual region detection, nor authentic tracking; information technology is based on the premise that adjacent pixels in space and fourth dimension that have similar grayness levels should also have similar colors.
• At the University of Minnesota, a color propagation method was developed that uses geodesic distance.^[6]
• A highly labor-intensive process employed past the United kingdom-based picture show and video colorization artist Stuart Humphryes, in conjunction with video restoration company SVS Resources, was employed by the BBC in 2013 for the commercial release of two Doctor Who serials: the showtime episode of The Listen of Evil and newly discovered blackness and white footage in the director'due south cutting of Terror of the Zygons. For these projects, approximately 7,000 fundamental-frames (approximately every 5th PAL video frame) were fully colorized past hand, without the utilise of masks, layers, or the segmentation method. These were then utilized by SVS Resources to interpolate the color beyond the intervening surrounding frames using a part computerized/role manual process.^[7]
• British photograph colorizer Tom Marshall has digitally colorized diverse historical subject matters including slavery,^[8] the Holocaust,^[9] the First World War,^[ten] Victorian London,^[xi] and the Suffrage movement.^[12]

Uses of colorization [edit]

Partial colorization [edit]

The primeval form of colorization introduced limited color into a black-and-white film using dyes, as a visual issue. The earliest Edison films, most notably the Annabelle Serpentine Dance series, were also the earliest examples of colorization, done by painting aniline dyes onto the emulsion.

Effectually 1905, Pathé introduced Pathéchrome, a stencil process that required cutting one or more stencils for each motion picture frame with the aid of a reducing pantograph.

In 1916, the Handschiegl Color Process was invented for Cecil B. DeMille's film Joan the Woman (1917). Some other early on example of the Handschiegl procedure tin be found in Phantom of the Opera (1925), in which Lon Chaney'southward character tin be seen wearing a bright-cerise cape while the rest of the scene remained monochrome. The scene was toned sepia, and and then the cape was painted scarlet, either by stencil or by matrix. Then, a sulfur solution was applied to everything but the dyed parts, turning the sepia into blue tone. The procedure was named after its inventor, Max Handschiegl. This effect, as well as a missing color sequence, were recreated in 1996 for a Photoplay Productions restoration by computer colorization (see beneath).

Partial colorization has also been utilized on footage shot in color to enhance commercials and broadcast television to further facilitate the director's artistic vision. As an example, Cerulean Fx provided partial colorization for Dave Matthews Band's music video The Space Between likewise as Outkast'south music videos Bombs Over Baghdad and Roses.

Restoration [edit]

A number of British television shows which were made in color in the early 1970s were wiped for economic reasons, just in some cases blackness-and-white telerecordings were fabricated for export to countries that did not notwithstanding take colour telly. An example is the BBC's five-function Doctor Who story The Dæmons. Only one episode survived in colour; the balance existed only as black-and-white movie recordings. The simply known colour recording was a poor-quality over-the-air recording of an abridged broadcast in the U.s.. In the 1990s, the BBC colorized the black-and-white copies by adding the color signal from the over-the-air recordings. The event was judged a success by both technicians and fans. In March 2008, it was announced^[thirteen] that new applied science, which involves detecting color artifacts ("dot crawl") in loftier-resolution scans of black-and-white films, volition be used to restore other Doctor Who episodes as well every bit shows similar Steptoe and Son where some episodes originally produced in color but exist in black-and-white. However, there are no plans to utilize colorization on BBC programmes originally produced in blackness-and-white, such equally the 1960s Doctor Who episodes since they take no colour information available and and so cannot be recovered using these methods.^[14]

Integration [edit]

Colorization is likewise sometimes used on historical stock footage in color movies. For instance, the flick Thirteen Days (2000) uses colorized news footage from the time of the Cuban Missile Crisis of 1962.

The full-color feature film Sky Captain and the World of Tomorrow (2004), which already made heavy use of digitally generated sets and objects, integrated black-and-white 1940s footage of Sir Laurence Olivier into scenes by colorizing him.

In his feature film The Aviator (2005), Martin Scorsese seamlessly composite colorized stock footage of the Hell'due south Angels movie premiere with footage of the premiere's reenactment. The colorization past Legend Films was designed to expect like normal 3-strip film but was so color corrected to friction match the two-strip await of the premiere's reenactment. Too in The Aviator, Scorsese used colorized footage of Jane Russell from the original blackness-and-white pic, The Outlaw and dog fight scenes from Hell's Angels.

Colorization examples, criticism, and controversies [edit]

Entertainment make-overs [edit]

In 1983, Hal Roach Studios became ane of the first studios to venture into the business concern of computerized film colorization. Buying a fifty per centum interest in Wilson Markle'south Colorization, Inc., information technology began creating digitally colored versions of some of its films. Roach's Topper (1937), followed past Way Out West (1937), became the first black-and-white films to be redistributed in color using the digital colorization process,^{[fifteen] [16] [17] [18]} leading to controversy. Defenders of the process noted that it would allow blackness-and-white films to have new audiences of people who were not used to the format. Detractors complained (among other reasons) that the process was crude and claimed that, even if it were refined, it would not accept into business relationship lighting compositions called for black-and-white photography which would not necessarily be every bit effective in color.^[19] Figures opposed to the process included Roger Ebert, James Stewart, John Huston, George Lucas, and Woody Allen.^[fifteen]

Cary Grant was reportedly "very gung-ho with the event" of the colorization of Topper.^[15] Managing director Frank Capra met with Wilson Markle nigh colorizing the perennial Christmas archetype It's a Wonderful Life, Meet John Doe and Lady for a Day based on Grant'southward enthusiasm.^[fifteen] Colorization, Inc.'s art director Brian Holmes screened x minutes of colorized footage from It's a Wonderful Life to Capra, which led Capra to sign a contract with Colorization, Inc.^[15] Notwithstanding, the film was believed to exist in the public domain at the fourth dimension, and, every bit a result, Markle and Holmes responded by returning Capra's initial investment, eliminating his financial participation, and refusing outright to allow the managing director to exercise artistic command over the colorization of his films, leading Capra to join in the campaign against the process.^{[15] [xx]}

On a December 27, 1989 episode of The Tonight Bear witness Starring Johnny Carson actor Jimmy Stewart criticized efforts to colorize old black-and-white films, including Information technology's a Wonderful Life.

The same film colorized in 2004.

In 1986, film critics Gene Siskel and Roger Ebert did a special episode of Siskel & Ebert addressing colorization as "Hollywood's New Vandalism". Siskel explained how networks were unable to show classic black-and-white films in prime-fourth dimension unless they offer it in colour. "They arrest people who spray subway cars, they lock upwardly people who attack paintings and sculptures in museums, and calculation color to black and white films, even if information technology'southward only to the record shown on TV or sold in stores, is vandalism nonetheless." Roger Ebert added, "What was and then wrong nearly black and white movies in the first place? By filming in black and white, movies tin can sometimes be more than dreamlike and elegant and stylized and mysterious. They can add a whole additional dimension to reality, while color sometimes just supplies boosted unnecessary information."^[21]

Media mogul Ted Turner was once an ambitious proponent of this process, by employing the San Diego business firm American Picture Technologies.^[22] When he told members of the press in July 1988 that he was considering colorizing Citizen Kane,^[23] Turner'south comments led to an firsthand public outcry.^[24] In January 1989 the Associated Press reported that 2 companies were producing color tests of Citizen Kane for Turner Entertainment. Criticism increased with the AP's report that filmmaker Henry Jaglom remembered that shortly before his death Orson Welles had implored him to protect Kane from being colorized.^[25]

On February 14, 1989, Turner Entertainment president Roger Mayer announced that piece of work to colorize Citizen Kane had been stopped:

Our attorneys looked at the contract between RKO Pictures Inc. and Orson Welles and his production company, Mercury Productions Inc., and, on the footing of their review, we have decided not to proceed with colorization of the movie. … While a court test might uphold our legal right to colorize the pic, provisions of the contract could be read to prohibit colorization without permission of the Welles manor.^[26]

One infinitesimal of the colorized examination footage of Denizen Kane was included in a special Arena documentary, The Complete Citizen Kane, produced by the BBC in 1991.^{[27] [28]}

John Huston's opposition to the colorization of his work led to a landmark three-year French legal case after his decease, sparked by a colorized version of The Cobblestone Jungle. His girl Anjelica Huston successfully used French copyright law to gear up a binding precedent in 1991 that prevents the distribution or broadcasting in France of whatever colorized version of a picture show against the wishes of the original creator or their heirs.^[29] Major legislative reaction in the U.s.a. was the National Film Preservation Human activity of 1988 (Public Law 100-446), which prohibits whatsoever person from knowingly distributing or exhibiting to the public a picture that has been materially altered, or a black and white motion-picture show that has been colorized and is included in the Registry, unless such films are labeled disclosing specified information. This constabulary besides created the National Movie Registry.

Because of the high cost of the process, Turner Entertainment stopped colorizing titles. With the coming of DVD applied science, the notion of colorization was in one case once again gaining press. Because the DVD format was more versatile, studios could offering viewers the choice to choose between both versions without switching discs, and thus, the release of colorized titles over again seemed profitable. Some companies rereleased the older colorized versions from the 1980s—an example of this is the Laurel and Hardy box set up being released in the UK.^[xxx]

Other studios, such as Sony Entertainment, deputed West Wing Studios to colorize several Three Stooges films for DVD release. The studio was given access to the original Columbia Studios props and sets to lend authenticity to the colorized versions.^[31]

Both film and boob tube restoration and colorization is produced past the company Fable Films. Their patented automated process was used to colorize around 100 films between 2003 and 2009. Shirley Temple, Jane Russell, Terry Moore, and Ray Harryhausen take worked with the company to colorize either their own films or their personal favorites. Two movies that Legend Films are noted for is the colorization of the exploitation moving-picture show Reefer Madness, for which sure color schemes were used to create a psychedelic effect in its viewers, and Program ix from Outer Space. Recently (2007), Legend Films colorized It'due south a Wonderful Life for Paramount Pictures (whose subsidiary, Democracy Pictures, had regained command of the copyright in the 1990s) and Holiday Inn in 2008 for rights holder Universal Pictures.

In 2004, a classic Indian film, Mughal-east-Azam, was colored for theatrical release all over the earth past the Indian University of Arts and Blitheness (IAAA) in association with Sankranti Creations. Since 2013, Livepixel Technologies, founded by Rajeev Dwivedi has been the sole player in film colorization business organisation and nigh completed more than 100 titles related with World War.^{[ citation needed ]}

In 2005, Sony Pictures Home Entertainment released the commencement season of Bewitched on DVD. Because the kickoff season was produced in black-and-white, Sony released two versions of the ready: ane with the episodes every bit originally broadcast and a second with the episodes colorized. A twelvemonth later, the 2nd flavor of Bewitched and the starting time season of I Dream of Jeannie, another show owned past Sony, were released the aforementioned fashion. These releases were colorized by Dynacs Digital Studios, a Florida-based visitor with film colorization and animation studios in Patna, India.^{[ citation needed ]}

CBS has colorized a number of episodes of I Love Lucy, The Andy Griffith Show and The Dick Van Dyke Show in the 2010s, which are timed to air on Fri nights in holiday periods.

Colorization has also been used to restore scenes from color films that were cut from the finished product but were preserved in black-and-white. In 2018, the originally intended closing scene to the 1978 picture show Grease (in which the atomic number 82 characters osculation) was added to the film'south 40th anniversary release. A claiming that still plagues colorization efforts is the fact that the colorized black-and-white film may non match flick shot originally in color; Randal Kleiser, the manager of Grease, wanted to edit the scene back into the film but found the colors between the scenes did not match well enough to do so. Kleiser is optimistic that colorization technology will be advanced plenty to match true color by 2028, when Grease reaches its 50th ceremony.^[32]

Documentary make-overs [edit]

Colorization is sometimes used on documentary programmes. The Beatles Anthology TV show colorizes some footage of the band, such as the operation of "All Yous Need Is Love" from the TV special Our World (1967). In the documentary, this scene begins in its original blackness-and-white before dissolving into seemingly realistic, psychedelic color.^[33] The color design was based on color photographs taken at the same fourth dimension as the special was shot.

The documentary series World War 1 in Colour (2003) was broadcast on television and released on DVD in 2005. There had previously been full-color documentaries about World War II using genuine colour footage, only since true color film was not practical for moving pictures at the time of Earth State of war I, the series consists of colorized contemporary footage (and photographs). Several documentaries on the War machine Channel feature colorized war footage from the Second World War and the Korean State of war.^{[ commendation needed ]}

The 1960 Masters Tournament, originally broadcast in black-and-white and recorded on kinescope, was colorized by Legend Films for the documentary Jim Nantz Remembers. This was the first time a major sports upshot had been rebroadcast using colorization.^{[ citation needed ]}

In Peter Jackson'south well-received 2018 documentary, They Shall Not Grow Old, black and white footage from Offset World State of war trenches was colorized.^[34]

The Greatest Game Ever Played, the 1958 NFL Championship between the Baltimore Colts and the New York Giants, was colorized by Legend Films for ESPN for a sports broadcast special in December 2008.^{[ citation needed ]}

See too [edit]

• National Film Preservation Human activity
• TNT (Television receiver channel)
• Turner Archetype Movies / History
• Tom Marshall—British photo colorizer
• 2d to 3D conversion—many of the issues involved in colorization, such as object edge identification/recognition, are as well encountered in 3-D conversion
• Color recovery recovery of color from black and white recordings

References [edit]

1. ^ Yumibe, Joshua (2012). Moving Colour: Early Film, Mass Civilisation, Modernism. Rutgers University Press. pp. 71–74. ISBN9780813552989.
2. ^ Wemaere, Gilles; Duval, Séverine (2011). La couleur retrouvée du Voyage dans la Lune de Georges Méliès (in French). Capricci Editions. p. 169. ISBN978-2918040422.
3. ^ "The colorized cartoon database". Archived from the original on May 22, 2006. Retrieved 2007-01-01 .
4. ^ "COLORIZATION". Retrieved 2007-01-01 .
5. ^ "Canadian Intellectual Property Office". Retrieved 2007-01-01 .
6. ^ Daniel Sýkora. "Note of colorization methods". Archived from the original on 2010-11-06. Retrieved 2007-01-01 .
7. ^ "Babelcolour Video Colourisation". 8 May 2013. Retrieved 2013-11-fifteen .
8. ^ "The human being bringing colour to 'shocking' historical pictures". BBC News. 2020-xi-15. Retrieved 2021-01-18 .
9. ^ "Haunting newly-colourised picture of smiling boy, 4, destined for the gas chamber". Metro. 2020-01-28. Retrieved 2021-01-18 .
10. ^ Sawer, Patrick (2018-xi-06). "Colour gives renewed impact to 100 year quondam images of First Earth War". The Telegraph. ISSN 0307-1235. Archived from the original on 2022-01-12. Retrieved 2021-01-18 .
11. ^ Sawer, Patrick (2020-01-05). "A touch on of color casts new light on the Dickensian lives of ordinary Victorians". The Telegraph. ISSN 0307-1235. Archived from the original on 2022-01-12. Retrieved 2021-01-18 .
12. ^ Fessenden, Marissa. "Photographs Documenting the Struggle for Women'south Suffrage Are Reimagined in Total Color". Smithsonian Magazine . Retrieved 2021-01-18 .
13. ^ Charles Norton (half-dozen March 2008). "Putting colour back in the Doctor's cheeks". The Guardian. London. Retrieved 2008-03-xiv .
14. ^ "Medico Who Restoration Squad Official Site". Retrieved 2007-01-01 .
15. ^ ^{a b c d e f} Edgerton, Gary R. (Winter 2000). "The Germans Wore Gray, Y'all Wore Blue". Journal of Popular Motion-picture show and Tv. 27 (iv): 24–32. doi:10.1080/01956050009602812. S2CID 159900256.
16. ^ "Topper". AFI Catalog of Feature Films. American Picture show Institute. Retrieved 2016-06-28 .
17. ^ Topper (Media notes). Hal Roach Studios Film Classics, Inc. 1985. Information technology seems fitting that Topper should again be on the cutting edge of change, this fourth dimension heralding the age of Colorization as the first completed Color version of a archetype black and white motion picture show.
18. ^ "Roach Enters Home Market". Billboard. April xiii, 1985. Retrieved 2016-07-03 .
19. ^ Krauthammer, Charles (1987-01-12). "Casablanca In Color?". Time. p. 3. Archived from the original on November 6, 2007. Retrieved 2007-01-01 .
20. ^ "Carpra'south Movies Lead New Lives". MSNBC. Archived from the original on 2012-07-eleven. Retrieved 2009-12-24 .
21. ^ Colorizing, Hollywood'due south New Vandalism (1986), Siskel & Ebert, Buena Vista Boob tube, 1986; air date unknown
22. ^ "AMERICAN FILM TECHNOLOGIES INC /DE/ – AFTC Annual Report (10-G) ITEM 1. Business". Sec.edgar-online.com. Retrieved 2009-11-01 .
23. ^ Bawden, James, "Colorful Turner sees Citizen Kane in a different light".Toronto Star, July 28, 1988. "Citizen Kane? I'm thinking of colorizing it."
24. ^ "The Museum of Circulate Communications: Ted Turner". Museum.tv. Retrieved 2009-11-01 .
25. ^ "Turner Says It's Testing To Colorize 'Citizen Kane'". Associated Press, January 30, 1989. Retrieved 2014-01-05 .
26. ^ "We'll Never Know If Rosebud Was Cerise". John Antczyk, Associated Press, February xiv, 1989. Retrieved 2014-01-05 .
27. ^ "The Complete Citizen Kane' documentary is now online". Wellesnet, May 13, 2013. 2013-05-thirteen. Retrieved 2014-01-05 . The footage appears at approximately i:17:00.
28. ^ "The Complete Denizen Kane". British Film Constitute. Archived from the original on 2013-10-07. Retrieved 2014-01-06 .
29. ^ Riding, Alan (25 Baronial 1991). "Flick Makers Are Victors In a Lawsuit on Coloring". New York Times . Retrieved 2009-04-24 .
30. ^ "The Laurel and Hardy Drove". DVD Beaver. Retrieved 2007-01-01 .
31. ^ "Stooges DVD revives colorization debate". MSNBC. Archived from the original on 2011-05-19. Retrieved 2007-01-01 .
32. ^ Alexander, Bryan (May 21, 2018). "Danny and Sandy finally become their movie-ending 'Grease' kiss, 40 years after it was cut". Us Today . Retrieved May 23, 2018.
33. ^ "Album Home Video". Beatles Reference Library. Retrieved 2007-01-01 .
34. ^ "The Times" report, xix Nov 2018, folio 3

Farther reading [edit]

• Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the United states of america (pg 9, Baronial one, 2000), ISBN 0-7864-0836-7

External links [edit]

• Hand coloring on Timeline of Historical Motion-picture show Colors with many written resources and many photographs of hand colored prints.
• Tom Marshall - Photo Colouriser with many examples of digitally colourised photos.

• Gene Siskel and Roger Ebert on colorization of black-and-white films, four parts:
  • Siskel & Ebert & The Movies-Colorization, Hollywood's New Vandalism (1of4)
  • Siskel & Ebert & The Movies-Colorization, Hollywood's New Vandalism (2of4)
  • Siskel & Ebert & The Movies-Colorization, Hollywood'south New Vandalism (3of4)
  • Siskel & Ebert & The Movies-Colorization, Hollywood's New Vandalism (4of4)

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Source: https://en.wikipedia.org/wiki/Film_colorization

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