> Yes I once witnessed a video of Sound of music that was sharp. A bit of a give away on a musical. No back in the old days we had things like9 frames a second for news footage and it was this that responsible for the very fast playbacks. Now, just a few years before I lost my sight completely, there seemed to be a lot more content transferred with some kind of simulation of the missing frames so it looked smoother and at the correct speech. It was by no means perfect, ie you could see some small movements of arms etc, still look blurred or jerky. Colourisation of cartoons was one thing, but its much harder to do with live action. I remember back in the day of home moves that ran at 16 frames a second, that some films colours faded with time. Ilford had this washed out look after some years, where highly saturated colours were OK but more pastel shades were almost in black and white. On many films in my Youth, like Summer Holiday etc, there was nearly always a shot that started in black and white and faded to colour gradually. How was this done?
According to Wikipedia, here's how (arguably) the most famous
example was achieved in The Wizard of Oz.
<QUOTE >
A significant innovation planned for the film was the use of
stencil printing for the transition to Technicolor. Each frame
was to be hand-tinted to maintain the sepia tone. However, it was
abandoned because it was too expensive and labor-intensive, and
MGM used a simpler, less expensive technique: During the May
reshoots, the inside of the farmhouse was painted sepia, and when
Dorothy opens the door, it is not Garland, but her stand-in,
Bobbie Koshay, wearing a sepia gingham dress, who then backs out
of frame. Once the camera moves through the door, Garland steps
back into frame in her bright blue gingham dress (as noted in DVD
extras), and the sepia-painted door briefly tints her with the
same color before she emerges from the house's shadow, into the
bright glare of the Technicolor lighting. This also meant that
the reshoots provided the first proper shot of Munchkinland. If
one looks carefully, the brief cut to Dorothy looking around
outside the house bisects a single long shot, from the inside of
the doorway to the pan-around that finally ends in a
reverse-angle as the ruins of the house are seen behind Dorothy
and she comes to a stop at the foot of the small
bridge.
--
Graham.
%Profound_observation%