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From: dave@cylixd.UUCP (Dave Kirby)
Newsgroups: net.movies
Subject: Re: Computer Colorization and Turning Down the Colour
Message-ID: <623@cylixd.UUCP>
Date: Tue, 24-Dec-85 12:47:02 EST
Article-I.D.: cylixd.623
Posted: Tue Dec 24 12:47:02 1985
Date-Received: Sat, 28-Dec-85 20:21:36 EST
Reply-To: dave@cylixd.UUCP (Dave Kirby)
Organization: RCA Cylix Communications , Memphis, TN
Lines: 24

In article <1495@mtgzz.UUCP> ecl@mtgzz.UUCP (e.c.leeper) writes:
>
>You could always turn the color off on your set. (No smiley-face; I'm
>serious.)

The dynamic duo of Siskel and Ebert remarked on one of their shows
that the colourisation process destroyed the relative intensities of
the objects in the film, so that when you play a colourised film
on a B&W set the shades come out different. They objected to this on
the grounds that the really good directors took great care when making
B&W films to make sure that the shading took full advantage of the B&W
medium.
Are these assumptions true, or a bunch of B. S. (bean sprouts)?

(1) Does the colourisation process alter the original intensities?

(2) Did directors really care that much about the shading and contrasts,
so much so that the altering done by colourisation would destroy the
effect?

I am cross-posting this to net.sci in case anyone there knows or cares.

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Dave Kirby    ( ...!ihnp4!akgub!cylixd!dave)