Editing Film colorization (section)

==Uses of colorization==
===Partial colorization===
The earliest form of colorization introduced limited color into a black-and-white film using dyes, as a visual effect. 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.

Around 1905, [[Pathé]] introduced ''Pathéchrome'', a stencil process that required cutting one or more stencils for each film 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). Another early example of the Handschiegl process can be found in ''[[The Phantom of the Opera (1925 film)|Phantom of the Opera]]'' (1925), in which [[Lon Chaney, Sr.|Lon Chaney]]'s character can be seen wearing a bright-red cape while the rest of the scene remained monochrome. The scene was toned sepia, and then the cape was painted red, 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 process 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 below).

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]]'' as well as [[Outkast]]'s music videos ''[[Bombs Over Baghdad]]'' and ''[[roses (OutKast song)|Roses]]''.

{{Further|topic=the colorization technique|Splash of color}}

===Restoration===
{{Main|Colour recovery}}

A number of British television shows which were made in color in the early 1970s were [[Lost television broadcast#Wiping|wiped]] for economic reasons, but in some cases black-and-white [[telerecording]]s were made for export to countries that did not yet have [[color television]]. An example is the [[BBC]]'s five-part ''[[Doctor Who]]'' story ''[[The Dæmons]]''. Only one episode survived in color; the rest existed only as black-and-white film recordings. The only known color recording was a poor-quality over-the-air recording of an abridged broadcast in the United States. In the 1990s, the BBC colorized the black-and-white copies by adding the color signal from the over-the-air recordings. The result was judged a success by both technicians and fans. In March 2008, it was announced<ref>{{cite news |url=https://www.theguardian.com/technology/2008/mar/06/research.bbc |title=Putting colour back in the Doctor's cheeks |access-date=2008-03-14 |author=Charles Norton |date=6 March 2008 |newspaper=The Guardian |location=London |archive-date=2013-12-04 |archive-url=https://web.archive.org/web/20131204004408/http://www.theguardian.com/technology/2008/mar/06/research.bbc |url-status=live }}</ref> that new technology, which involves detecting color artifacts ("[[dot crawl]]") in high-resolution scans of black-and-white films, will be used to restore other ''Doctor Who'' episodes as well as shows like ''[[Steptoe and Son]]'' where some episodes originally produced in color only exist in black-and-white. However, there are no plans to use colorization on BBC programmes originally ''produced'' in black-and-white, such as the 1960s ''Doctor Who'' episodes, since they have no color information available and so cannot be recovered using these methods.<ref>{{cite web |url=http://www.restoration-team.co.uk/ |title=Doctor Who Restoration Team Official Site |access-date=2007-01-01 |archive-date=2020-02-04 |archive-url=https://web.archive.org/web/20200204101236/http://www.restoration-team.co.uk/ |url-status=live }}</ref>

===Integration===
{{Unreferenced section|date=March 2017}}

Colorization is also sometimes used on historical [[stock footage]] in color movies. For instance, the film ''[[Thirteen Days (film)|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 (2004 film)|The Aviator]]'' (2005), Martin Scorsese seamlessly blended colorized stock footage of the ''[[Hell's Angels (film)|Hell's Angels]]'' movie premiere with footage of the premiere's reenactment. The colorization by Legend Films was designed to look like normal three-strip film but was then color corrected to match the two-strip look of the premiere's reenactment. Also in ''The Aviator'', Scorsese used colorized footage of [[Jane Russell]] from the original black-and-white film, ''[[The Outlaw]]'' and dog fight scenes from ''Hell's Angels''.