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Jun 9, 2021 at 20:37 comment added Acccumulation "The emulsion of early films (about 1920s and earlier) was almost completely insensitive to red (reds were rendered as blacks)" Hence darkrooms having red lights.
Jun 6, 2018 at 5:02 vote accept Muze
Apr 29, 2018 at 22:00 comment added supercat For movies which were originally shot in black and white, that's true. Occasionally portions of a film that was originally shot in color may survive only as black and white prints, and in those cases colorizing may be viewed as restoration, with the goal being to match any surviving reference material, if available.
S Apr 29, 2018 at 7:41 history suggested Amarjit Dhillon CC BY-SA 3.0
spelling mistakes
Apr 29, 2018 at 6:01 review Suggested edits
S Apr 29, 2018 at 7:41
Apr 28, 2018 at 14:08 vote accept Muze
Apr 29, 2018 at 22:18
Apr 28, 2018 at 6:31 history edited Agent_L CC BY-SA 3.0
Changed the part about makeup to more detailed and less misleading
Apr 27, 2018 at 20:28 comment added T.E.D. A famous example from the other side: some of the early colorizations in the late 80's rendered the eyes of Frank Sinatra (aka: "Old blue eyes") brown. Siskel & Ebert used it as exhibit A of why the entire idea was a disgrace to the art of film.
Apr 27, 2018 at 14:05 comment added Agent_L @BradC I think that your point #3 interpreted as "how 2016 audience imagines 1920s looked like" is the most important consideration : )
Apr 27, 2018 at 13:53 comment added BradC Good answer. As they say, it's an art, not a science. For historical photos of real events or people, reproducing the actual original colors might be the goal, but for colorizing movies its about choosing colors that are 1) realistic 2) consistent 3) attractive 4) enhance instead of detract from the original film 5) achieve whatever artistic effect the colorizer has in mind.
Apr 27, 2018 at 13:39 history answered Agent_L CC BY-SA 3.0