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Lie #2: this scene? It’s not going from a black and white world to a color one.
误解2：这个场景……并不是从黑白世界转换到了彩色世界。
The set was actually painted sepia-tone so the same Technicolor process could be used for the bright Oz reveal.
事实上，此处的场景只是选用了怀旧的色调，这样就可以使用相同的特艺七彩技术处理画风的转变。
Today, it’s much easier.
这在今天要容易得多。
I can draw a box with my hand and with a click, black and white and color play together.
手动绘制一个画框然后点击一下就能同时实现黑白与彩色的并存。
They even had techniques to do stuff like this in the Oz days.
而在制作《绿野仙踪》时，他们甚至为此研发了相关的技术。
But the fact that they built a sepia house shows how Technicolor’s technical limitations shaped all color movies.
然而，他们修建了一座怀旧色彩的房子，这一事实表明了特艺七彩的技术困难对所有电影造成的影响。
“This is one of the cameras that was used to film The Wizard of Oz. It weighs 4 to 500 pounds,
“这台摄影机也曾用于拍摄《绿野仙踪》，它有180kg-225kg重，
and these cameras were bigger than ordinary motion picture cameras
这些摄影机比普通电影摄影机要大，
because they had to run three strips of film through them at any given time.”
因为它们都有三卷胶片在同时记录色光。”
So remember —This scene that had to be done with this beast of a camera.
记住了，这个场景得用这台大家伙拍摄。
Those three strips didn’t just require more space, they needed tons of light.
那三卷胶片不仅需要占用更多空间，还需要非常强烈的光。
That set had to be blazingly overlit to get enough light through to these three strips of film.
该设置只有在强光作用下才能让三卷胶片充分感光。
The set was reportedly 100 degrees Fahrenheit at times.
据说，这套设备拍摄时温度有时可以达到37.8℃。
Sound was an issue, too.
这套设备还有声音方面的问题。
“It’s so loud when you’re running three strips of film through a camera,
“这台摄影机工作时要带动三卷胶片，产生的噪音非常大，
so they had to build this blimp around it.
所以他们不得不给它套一个隔音罩。
It’s filled with soundproofing material
里面填充的都是隔音材料，
so when you’re making a sound film, you don’t get all the sound from the camera throughout the studio there.”
这样一来，在拍摄有声电影时，不会连摄影机乃至摄影棚里的声音都记录下来。”
Technicolor’s advantages outweighed its limitations.
特艺七彩技术利大于弊。
It’s main advantage was the way in which it could capture the tone of a scene.
这一技术最主要的优势在于它能捕捉场景的色调。
Two movies made in the same year could have a different look,
同年拍摄的两部电影可能看起来就不一样，
not just because of the choices made in front of the camera.
原因不仅仅在于拍摄内容的差别。
Technicolor consultants and directors tweaked the palette of the film by adjusting the cyan, magenta and yellow dyes.
特艺公司的色彩顾问和导演会通过调整青色、品红和黄色的比例来控制电影画面的色彩。
The complicated dye transfer process gave Singin’ in the Rain some of its magenta-hued skin and deep saturated colors.
复杂的颜料转印工艺赋予了《雨中曲》的品红色调及其高饱和度的色彩。
The film and technology weren’t the only things that gave Technicolor movies their distinctive look.
胶片和技术不仅使特艺七彩电影与众不同，
It also shaped the world that they chose to film.
还改变了人们拍摄的这个世界。
