Why are painted black and white movies?



Why are painted black and white movies? Two leading Russian television program broadcast in May included a real surprise for viewers - colored version of black and white films shot "Seventeen Moments of Spring" ("Russia") and "go to fight old men" ("First"). And admiration, and angry in the audience of millions was more than enough. The Communists generally stated their intention to apply for the initiators of the colorization of films to the court for "vandalism" - before they do not like to play new paints the image of Isaev.

Colorful personality Schtirlitz
The idea to paint a movie about Stirlitz occurred Alexander Lyubimov, and not so - at once and suddenly, and three years ago. The movie was originally filmed at a time when color television was only strengthened their positions. Over time, the film became a national cultural value that unites generations. That's only the most "advanced" generation it is not very granted to - young people accustomed to the sights of a different nature and different level.

The last argument was perhaps the most convincing in "assault", directed by Tatiana paintings Lioznova - a long time she did not consent to the color-coding strip. She showed different options, it is carefully and meticulously through each frame, ensuring that experiments with color is not distorted actor's work. High praise from Lioznova was the phrase: "Well, just like on the set!". And this meant that the colorists have coped with their task.

They tried not to make the film in Fair splint, and to convey all the nuances of the era of the forties, when dominated by the muted hues of art deco. For each scene were studied several options, and then the final choice fell on the most perfect. With documentary draws identity and uniforms, and awards, and laying bricks in the wall, and a black Mercedes spy.

For Old Men "- a sensitive attitude
Producer Leonid Bykov their "old" filmed in 1973, when the color film has entered into use of Soviet cinema. But getting it was not so easy. The studio Dovzhenko, where he worked Bykov, it issued only for the socialist-realist paintings. "For a film about the tractor driver - please! At the movies about the war with songs - no! "- The director cut, ask the guide is" color ".

I had to be content with black and white. "I believe that we have fulfilled the desire Bykov", - said director of color-film "go to fight some old" Igor Lopatenok. He has restored and painted, even the military newsreel footage used in the film. For comparison: in "Seventeen Moments of Spring" chronicles also resulted in a technical procedure, but did not venture to embroider.

Work on the color version of the "old men" have attracted a group of assistants, consultants, where both military pilots, specialists in costumes and awards, operators, and, of course, [url=http://shkolazhizni.ru/archive/0/n-24067/] Actors 1,111,115. , Who played in the movie. Painted it very delicately, restored in the end the so-called original quality. Even eye color and hair color of actors to reproduce a "kind".

What made Edison and Enzenshteyn?
World cinema got carried away the color-coding (ie, giving an artificial colors monochrome) with 50-60-ies. The first "guinea pigs" were cartoons. Activity was incredibly time-consuming, time was spent painting almost more than the creation of a cartoon from scratch. Each frame had to streak again and only then fill color.

With improvement of computer technology and simplified process: the color of objects mark is directly in the frame. Invented know-how Canadians Wilson Markle and Brian Hunt. In 1970, they kolorizirovali lunar shooting for the Apollo program.

Fifteen years later, in 1985, there was an analog system of color-coding, and in 1987 - digital. The latter included the computer processing of the film to be shown on TV or dubbing to tape. In the ranks of the filmmakers themselves were quite a few violent opponents of color-coding, convinced that it "distorts the original creative concept filmmakers" ("Encyclopedia of Film Cyril and Methodius", 2003).

But new technology is interested owners of many old Hollywood movies, and they are happy to run it "in circulation". Tycoon Ted Turner, in charge of almost a hundred of the legendary films, has replaced most of its collection color versions, no matter whose protests.

And some more interesting facts from the "childhood" color-coding. Aniline dyes covered frames of the first Edison films from the series «Anabelle Butterfly Dance» add visual effects. In "Phantom of the Opera" (1925) ghost appears in a bright red cloak against the backdrop of black and white frames. They use German technology "Handshigel", in 1916 involved the installation of the film "Woman Joan.

 
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