Black and white films were the norm for the first several decades of cinema history. However, with the advent of color film processes like Technicolor in the 1930s and 1940s, color films started to become more common. Still, a huge number of films continued to be shot in black and white up through the 1960s. Even as color filming technology improved and became the dominant form of filmmaking, the question remained: what could be done about all those classic black and white films? Could they somehow be converted to color? The process of adding color to black and white films has evolved over the years along with advancements in technology.
Early Attempts at Colorization
In the early days of cinema, some attempts were made to hand-color black and white films, but this was a very labor-intensive process. The first patented technique for mechanically adding color to black and white film was developed in the early 1900s by English inventor George Albert Smith. However, this process involved painting colors directly onto the film frames and did not produce realistic or high-quality results.
In the 1950s, Technicolor and other studios experimented with chemically treating black and white film to create color negatives that could produce color prints. This process produced somewhat washed-out and unrealistic colors, so it was not widely adopted.
It wasn’t until the 1970s that colorization techniques started to improve dramatically. Companies like Colorization Inc. and American Film Technologies began developing digital processes for scanning black and white film frames and digitally adding color. This resulted in the first major wave of colorized films being released to the public.
Modern Digital Colorization
Today, nearly all colorization of black and white films is done through digital processes on computers. This allows for much more control and precision in adding color back into monochrome images.
The starting point is to scan the original black and white film frames at a very high resolution. Modern colorization techniques involve much more than just adding colors on top of the existing blacks, whites and shades of grey. Colorists study the film to deeply understand the director and cinematographer’s intentions, analyzing details like costumes, hair, makeup, lighting, and skin tones. This allows them to make informed artistic choices about which colors to apply.
Here is a general overview of the steps involved:
Key Steps in Modern Digital Colorization
| 1. Scan film at high resolution (4K or higher) |
| 2. Stabilize/repair frames |
| 3. Isolate key elements in each frame |
| 4. Add color layer and paint colors |
| 5. Add adjustments (lighting, tones, etc.) |
| 6. Smooth out any irregularities |
| 7. Composite colored frames into video |
First, the original film is scanned frame-by-frame at a very high resolution, typically at least 4K and up to 8K. This allows the colorist to see fine details in each film frame.
The frames are stabilized to adjust for any jitter or shakes in the original camera work. Imperfections and damage to the film are also digitally repaired and cleaned up.
Next, the colorist isolates key elements in each frame, separating out areas like skin, clothing, skies, foliage, etc. Different areas are assigned different “color layers” so colors can be applied selectively.
The colorist then goes in with digital painting tools to manually add colors to each layer in each frame. Extensive research is done to determine accurate colors for things like skin tones, wardrobe, cars, buildings, and other objects. Sometimes directors or cinematographers are consulted as well.
Additional adjustments are made to lighting and color tones to match the intended mood and atmosphere of the original black and white filming. The colors are blended and smoothed out to prevent any jagged edges or irregularities.
Finally, the full color images are recombined back into a video format at the original film resolution and frame rate. This results in a vibrant, realistic color version of the film that aligns with the artistic intentions.
Modern colorization leverages the artistry and judgment of trained colorists along with the power of digital image manipulation software. When done well, colorized films can take on vivid new life while remaining faithful to the original work.
Controversies Around Colorization
Though the technology has improved, the practice of colorizing classic black and white films remains controversial among some film purists and preservationists.
When colorization first started becoming popular in the 1980s, many black and white filmmakers spoke out against it. Directors like John Huston and Woody Allen testified before Congress against the practice, arguing that it could ruin the artistry and integrity of black and white cinematography.
Some critics see colorization as distorting the original artistic intent. Black and white films were deliberately shot and lit to take advantage of monochrome contrasts and shadows. Arbitrary computer-added colors may clash with what the filmmaker wanted viewers to see.
There are also concerns that once colorized versions exist, they will discourage new generations from experiencing classic films in their original black and white form. Access to colorized versions may lead to fewer broadcasts and screenings of the authentic black and white prints.
However, advocates argue colorization can bring older films new audiences. Younger viewers in particular may be more likely to engage with an older movie if it’s in color. They see it as a way to preserve interest and extend the longevity of classic films.
Most agree that colorized versions should always be clearly distinguished from original black and white prints. As long as authentic prints are protected, both versions can continue to coexist for those who prefer one or the other.
Major Colorized Films
Here is a table of some of the major black and white films that have been colorized over the years:
| Film | Year Released | Color Version Release |
| It’s a Wonderful Life | 1946 | 1986 |
| Casablanca | 1942 | 1988 |
| Citizen Kane | 1941 | 1991 |
| The Maltese Falcon | 1941 | 1997 |
| Alfred Hitchcock Classics | 1940s-50s | 2012 |
| The Pillow Book | 1965 | 2014 |
| I Love Lucy | 1951-57 | 2015 |
Some of the most famous old Hollywood films like It’s a Wonderful Life and Casablanca were colorized in the late 1980s. Citizen Kane and other classics followed suit in the 1990s and 2000s.
More recently, series like I Love Lucy have been colorized to appeal to modern audiences. Even acclaimed black and white films like Alfred Hitchcock’s Rear Window and Vertigo got color makeovers in 2012.
As technology improves, more vintage cinema treasures will likely get the colorization treatment. But the debate over altering classic originals will remain heated.
Colorization of Historical Footage
In additional to entertainment films, colorization has also been applied to historical footage like World War 2 documentaries and vintage newsreels.
Adding color to wartime footage can help modern viewers connect to the humanity and reality of the events. The enhanced visual impact brings history vibrantly to life.
However, the same risks of inaccuracy and distorting the past apply here as well. With historical documents, faithfulness to the original is especially important.
Colorized historical footage should always be clearly labeled as altered and differentiated from the original black and white sources. When done respectfully, it can complement and supplement the uncolored films, engaging new generations with the past.
Advanced Modern Colorization
As technology progresses, even more advanced techniques are emerging for automating and improving colorization.
Machine learning algorithms can now analyze film content in depth and apply colors automatically based on object recognition and comparison to real-world elements. This automates part of the process while still allowing human oversight and adjustments.
3D modeling of environments and enhanced reflection mapping can provide colors, textures, and lighting at a level not possible manually. This can create almost photorealistic colorization with depth and shading far beyond flat painted colors.
However, human creativity and artistry is still essential. The best results combine computer assistance with an expert colorist’s skills and aesthetic choices. In the future, the blending of art and technology will enable colorization that remains true to the spirit of classic black and white films.
Conclusion
The colorization of black and white films has come a long way from the early crude hand-tinting methods. When done with care and respect for the original material, color can give classic cinema a new vitality. But there is an art to adding color that requires research, judgment and faithful restraint.
At their core, films are about story, characters, and the creative vision of those who made them. Color issecondary. No computerized wizardry can fully replicate what gifted cinematographers achieved with shadow and light.
Black and white films should be preserved and revered as they were created. But colorization can be a bridge to engage modern viewers who may be otherwise disconnected from classics of the past.
Appreciation for both versions can coexist. As techniques continue improving, colorization will likely find the right balance between technology and art. Both color and black and white have their place in cinema’s grand tradition.
