It happens just after Dorothy croons in sepia-toned Kansas,

桃樂絲在棕褐色的堪薩斯州唱著歌，它隨後便發生了

Toto wags his tail, and the house gets caught in a tornado.

此時托托搖著自己的尾巴，而房子被龍捲風捲起

She travels from a faded film strip to a Technicolor world.

她從褪色的電影幻燈片中跨越到特藝彩色的世界

But there are three things about this scene you might get wrong.

但是，關於這個場景有三件事你可能理解錯了

And each one helps show the real history of Technicolor.

而每一個都能展現特藝彩色的歷史

These misconceptions explain what the “Technicolor triumph” really was, from

這些誤解解釋了「特藝彩色」實際上有多成功

the technical aspects that made it work, to exactly why it took over the movies, to the

從它如何運作的技術方面，到它接管無數電影

way in which the technology shaped the look of the 20th century.

甚至到科技塑造而成的 20 世紀

Lie #1 - Wizard of Oz is not the first Technicolor movie.

第一個謊言：綠野仙蹤不是第一部使用特藝彩色的電影

Not even close.

差遠了

You might know that, but a lot of people don't.

你可能知道這件事，但是很多人都不知道

Come on Maryland Science Center, you're better than this.

拜託，馬里蘭科學中心，你可以更好的

Historian Barbara Flueckiger has an exhaustive timeline of color in film, from

歷史學家 Barbara Flueckiger 對於電影的色彩有個詳盡的時間軸

hand-painted film to the first movie filmed in “kinemacolor,”

從手繪電影到第一部以 kinemacolor 拍成的電影

A Visit to the Seaside.

A Visit to the Seaside

But Technicolor stood out, and even it has a history that long predates The Wizard of

但是特藝彩色更為顯眼，即使它的出現早就預測了

Oz.

綠野仙蹤

Herbert Kalmus, Daniel Frost Comstock, and W. Burton Wescott founded the company in 1914,

Herbert Kalmus、Daniel Frost Comstock 和 W. Burton Wescott 在 1914 年建立了公司

with the “Tech” referring to MIT, where Kalmus and Comstock met.

而「Tech」代表了 Kalmus 和 Comstock 相遇的麻省理工學院

It started by merging red and green - into a new image that roughly looked like this.

它始於把紅與綠混在一起：變成一個新的影像，大概長得像這樣

You can see the look in this range of movies from the late 1920s and early 30s.

你可以從 1920 年末到 1930 早期看到這類電影

It could do passably well with skin tones, but

它能把膚色配得很好看

there's no blue in these dresses for a reason.

但是，這些服裝上沒有藍色是有原因的

Blue came into the mix in 1932, when Technicolor added the key third strip.

藍色在 1932 年的時候加了進來，此時特藝彩色添加了重要的第三條帶子

They showed off the process in Walt Disney's Flowers and Trees, a gorgeous animated feature

他們在華特迪士尼的一部精緻的動畫短片《花與樹》 中，炫耀自己的技術

that was a botanist's nightmare.

那可是植物學家的惡夢

You know, there are evil trees in Wizard of Oz, too.

你知道，綠野仙蹤裡也有邪惡的樹

“What do you think you're doing?”

「你以為你在幹嘛？」

Anyway, in order to get Technicolor to work, it was an insanely difficult process.

總之，為了讓特藝彩色有所成效，這過程可是不可置信的困難

Technicolor distributed guides like these

特藝彩色發布了像這樣的指標

and we can make a reasonable simulation digitally, with a scene like this.

好讓我們能夠用數位技術，為這個場景做出一個像樣的模擬

So here's a scene of some Lego people who are apparently worshipping Lawrence of Arabia?

所以，這裡有個一些玩樂高的人做出來的景，他們顯然人很崇拜阿拉伯的勞倫斯

Not sure what's going on here, but it's our starting image.

雖然不太確定這邊發生了什麼事，但是這是我們的初始畫面

A technicolor camera would typically take that picture and shoot it through a prism

特藝彩色的相機會透過一個稜鏡拍照

that split the light into red, blue, and green negatives for the picture.

這個稜鏡能把光分成紅、藍和綠色的底片

Those negatives were then flipped into positive “matrices,”

這些底片會被翻成正片「matrices」

which eventually got soaked with dyes of the complementary colors.

它們最後都會浸泡在補色的染料裡

So the red matrix turned cyan, the green one magenta, and the blue one yellow.

所以，紅色的模型變成青色，綠色變成紅紫色，而藍色變成黃色

Then the dye was transferred — this was called a “dye transfer process” to create

於是，染料的顏色便會染上，這種手法叫做「染印法」

a final gorgeous Technicolor image.

它用於製造特藝彩色的美麗圖像

So if you're anything like me, that explanation might make you feel like the scarecrow.

如果你像我一樣，這些解釋讓你看起來像個稻草人

“Oh I'm a failure because I haven't got a brain.”

「天啊！我真失敗，因為我沒有腦袋。」

So let's try it again, but only look at that red channel.

所以，我們再試一次，但這次只看著紅色的轉換

So keep your eye on the View-Master, the red in the Rubik's cube, or maybe the Lego guy's

所以，注意望遠鏡、魔術方塊上的紅色、還有樂高人偶上的

hat.

紅帽

It is all kind of dark now, because that's just the red color in the negative.

它現在看起來有點暗，那是因為底片裡的紅色長的像這樣

Now flipped in the matrix, that red is really bright, which means that when it's dyed,

現在我們換個模型，紅色現在看起來很亮，這表示當它染色時

it won't get a lot of cyan.

它不會有太多的青色

And that makes sense.

而一切都說得通了

Cyan is the complementary color — it's the anti-red.

青色是種補色—它是反紅色的

So where you want a lot of red, you do not want a lot of cyan.

所以，當你想要很多的紅色的時候，你不想要太多的青色

That way, when it comes together, you get a ton of magenta and some yellow.

這就是為什麼，當全部混在一起時，你會有一堆的紅紫色與些許的黃色

You don't have a lot of cyan, because the cyan cancels out the red.

你不會有太多的青色，因為青色會抵掉紅色

In the earlier days of Technicolor, they also had to amp up the contrast.

在特藝彩色早期，他們也把這對比給放大

The company would add a black and white layer underneath the matrices to serve as something

公司會在模型下面加一層黑白色調，這叫做

called "the key."

「基色」

You can see the results early, in films like 1934's La Cucaracha,

你可以在早期的電影裡看到這樣的結果，像是 1934 年的 La Cucaracha

The Trail of the Lonesome Pine, and Robin Hood, all of which came out well

孤松林徑和羅賓漢，它們都比

before the Wizard of Oz.

綠野仙蹤還早出來

It's easy enough to roughly copy the technology that “Technicolored” the Wizard of Oz.

要複製綠野仙蹤的科技很簡單，像是綠野仙蹤的特藝彩色

RGB split, color bath, mesh, repeat.

RGB 分離、色彩分析、編織並重複

But the film strip processes are just part of the story.

但是，這電影膠捲的成長過程只是故事的一部分

Lie #2: this scene?

第二個謊言：這個場景？

It's not going from a black and white world to a color one.

它不是從一個黑白的世界到一個彩色的世界

The set was actually painted sepia-tone so the same Technicolor process could be used

這佈景實際上是棕褐色色調的，好讓同樣的特藝色彩能夠處理好

for the bright Oz reveal.

展現明亮的奧茲國

Today, it's much easier.

今日，一切都更簡單了

I can draw a box with my hand and with a click, black and white and color play together.

我可以用我的手畫出一個盒子，點一下，黑白色以及各色都各自成形

They even had techniques to do stuff like this in the Oz days.

在做綠野仙蹤時，他們甚至已經有技術去做這類東西了

But the fact that they built a sepia house shows how Technicolor's technical limitations

但是，實際上他們蓋了個棕褐色的房子去展現特藝色彩技術上的限制

shaped all color movies.

是如何塑造整部彩色電影

“This is one of the cameras that was used to film

「這正是拍攝綠野仙蹤的

The Wizard of Oz.”

攝影機之一。」

“It weighs 4 to 500 pounds, and these cameras were bigger than ordinary motion picture cameras

「它重達 400 到 500 磅，而這些攝影機又比平常的攝影機更大，

because they had to run three strips of film through them at any given time.”

因為它們必須同時同時運作三條膠捲。」

So remember — this scene?

所以，記得嗎？這個場景？

That had to be done with this beast of a camera.

它必須用這如野獸般的攝影機拍攝

Those three strips didn't just require more space, they needed tons of light.

三片膠捲不但需要更大的空間，也需要一堆光線

That set had to be blazingly overlit to get enough light through to these three strips

片廠必須用強光照明，好讓三片電影膠捲有足過的光線

of film.

通過

The set was reportedly 100 degrees Fahrenheit at times.

據說，片場當時有華氏 100度

Sound was an issue, too.

聲音也是個問題

“It's so loud when you're running three strips of film through a camera, so they had

「當你同時在攝影機上運作三個電影膠捲，聲音太大了。所以他們得

to build this blimp around it.

「做這個外框在它的周圍。」

It's filled with soundproofing material so when you're making a sound film you don't

「它充滿了隔音的素材，所以當你在拍有聲電影時

get all the sound from the camera throughout the studio there.”

「你不會收到攝影機或是製片廠的聲音。」

Technicolor's advantages outweighed its limitations.

特藝彩色的優點超越了它的限制

It's main advantage was the way in which it could capture the tone of a scene.

它主要的優點是它如何捕捉場景的色調

Two movies made in the same year could have a different look, not just because of the

兩部電影就算同年開拍也會有不同的樣貌，這不只是因為

choices made in front of the camera.

攝影機選色的差別

Technicolor consultants and directors tweaked the palette of the film by adjusting the cyan,

特藝彩色的顧問和導演調整青色、紅紫色與黃色的染料

magenta and yellow dyes.

以處理電影的色調

The complicated dye transfer process gave Singin' in the Rain some of its magenta-hued

這複雜的染料轉移過程讓萬花嬉春裡有著偏紅紫色的膚色

skin and deep saturated colors.

與極度飽和的色調

The film and technology weren't the only things that gave Technicolor movies their

電影和科技並不是讓特藝彩色有如此特殊樣貌的

distinctive look.

唯一理由

It also shaped the world that they chose to film.

它也塑造了這個人們選擇拍攝的世界

Lie #3: This isn't the real Dorothy.

第三個謊言：這不是真的桃樂絲

It's Judy Garland's body double.

她是 Judy Garland 的替身

She wore specially designed clothes and makeup to match the sepia world, so Judy Garland

她穿著特別設計去配合棕褐色世界的衣服和妝容，好讓 Judy Garland

could swoop in, in the same shot and a blue dress, to join Technicolor Oz.

能夠穿著藍色洋裝，在同樣的鏡頭下交換進來特藝彩色的奧茲國

These movies, and Oz, were shaped around Technicolor's abilities, from head to toe.

這些電影和綠野仙蹤從頭到尾都是以特藝彩色的特點來塑造的

“The second page that you see here is the part of the script that shows the ruby slippers

「你看到的第二頁是劇本的一部分，在這裡紅寶石鞋

being unveiled, but what it shows is that they were still silver shoes at this point,

將被發現，但是，此時，劇本裡寫的卻是呈現一雙銀鞋

but the producers of the film really wanted to show off that Technicolor that they were

電影的製作人實在很想要展現他們特藝彩色付出的成果。

paying for, so they wanted them to be sparkly ruby slippers that would look good against

所以，他想要這雙鞋是雙閃亮且能在黃磚路上格外

the yellow brick road.

顯眼的紅寶石鞋

So they changed it at the middle of production to ruby slippers.”

所以，在拍攝途中，他們換成了紅寶石鞋。」

Today, the shoes are kept under low light to preserve them, but during the shoot they

今天，這雙鞋被保存在低光源的光中。但在拍攝的時候

were blasted with light to accommodate the camera and make those sequins sparkle.

它被無數的燈光聚焦著，好讓鞋上的小金屬片發光

These weren't just on-set decisions — Technicolor was always pulling strings behind the curtains.

這可不是個臨時起意的點子—特藝彩色總種是在幕後操作

Look at the credits for Wizard of Oz,

看看綠野仙蹤的片尾名單

and The Trail of the Lonesome Pine, and A Star is Born, and so on and so on.

孤松林徑和星夢淚痕，等諸如此類的電影

You'll see one name over and over.

你會看到這個名字無數遍

Natalie Kalmus.

Natalie Kalmus

Once married to Technicolor cofounder Herb Kalmus, she ruled with an iron fist over

她一嫁給特藝彩色的共同創辦人 Herb Kalmus，她便以鐵腕政策

Technicolor productions for many of the early years.

掌控了早期數年特藝彩色的製作

Kalmus had over 300 film credits where she gave Technicolor advice — and sometimes

Kalmus 參與了超過 300 部的電影，她給予了他們關於特藝彩色的意見，有時候

told directors what to do.

更告訴導演該如何做

This is the IMDB page for a woman born in 1882.

這是 IMDB 影視資料庫上 1882 年出生的女性

In documents like “Color Consciousness,”

在文獻中，「色彩的認知」裡

she extended her reach into art — the essay includes aesthetic color theory.

她更延伸自己的領域到藝術—論文裡包括了美學上的顏色理論

“Red: danger, blood, life, heat.

「紅色：危險、血、生命和熱」

Green: Nature, outdoors, freedom, freshness.”

「綠色：大自然、戶外、自由和新鮮」

Kalmus's influence was significant, but it's as important as a reflection of Technicolor's

Kalmus 的影響很大，她的重要性反應了特藝彩色的

power.

影響力

Technicolor had its own processing facilities, and its own camera crew that continued Natalie

特藝彩色有自己的處理設備以及電影劇組，好在 Natalie Kalmus 離開公司後

Kalmus' work after she left the company.

延續她的作品

The technology and the production process gave Technicolor a significant competitive

它的技術與製作過程讓特藝彩色有著無與倫比的優勢

advantage to alternatives being used.

直到取代的技術被使用為止

Despite all those alternatives shown on Barbara Flueckiger's website, studios stuck with

即使在 Barbara Flueckiger 的官網上有這些替代選擇，但製片仍

Technicolor for a long time.

持續使用特藝彩色好一段時間

It had a reliable system and could be shown in any theatre in splendid

它有個可靠的系統可以在任何的戲院上播放它絢麗的色彩

color, without requiring special equipment.

它並不需要仰賴任何特別的裝置

Technicolor eventually fell to cheaper processes through the 1950s, like Eastman Color, that

特藝彩色最終在 1950 年時成為了較便宜的技術，像是 Eastman Color

used a single strip.

它只使用了一個膠捲

The Godfather, Part II was one of the final major releases to use the Technicolor we recognize.

教父第二部是個重要的發行，它使用了我們認得的特藝彩色

But old prints remain surprisingly vibrant today due to the dye transfer process used.

但是，懷舊電影在今日仍出奇的有著明亮色彩，這是因為它們染料的轉換過程

Today, I can snap my fingers and be in The Matrix or in Stranger Things' Upside

今天，我可以彈指便身在駭客任務、怪奇物語或是

Down.

顛倒世界

Ok.

好啦

What are all these dust particles?

這些小灰塵是什麼？

Is this asbestos?

這是石綿嗎？

Am I covered in asbestos right now?

我現在被石綿蓋著嗎？

Technicolor was never just a click — the look was formed by the camera's strengths

特藝彩色從來就不只是件彈指的易事—這樣貌是攝影機的強項與

and weaknesses, the artistic choices made for color, and the Technicolor company's

缺點製成的、還有藝術上對顏色的選擇、特藝彩色公司的

infrastructure and supervision.

基礎構造以及監督

In that key scene from the Wizard of Oz, you might not have known the trivia about Dorothy's

在這綠野仙蹤重要的場景裡，你可能不知道這冷知識關於桃樂絲的替身

double, or the sepia doorway, or even that it wasn't Technicolor's debut.

或是棕褐色的門廊，甚至這根本不是特藝彩色的首映

But one thing is easy to understand, intuitively.

但有件事可以很直觀且容易理解的

The movie is all about it.

電影就是關於這些

Technicolor wasn't a switch or a doorway.

特藝彩色不單只是個開關或是扇門

It was a whole world, just waiting on the other side.

而是在另一邊等著你的另一個世界

You can nerd out a lot more on Technicolor by checking out Barbara Flueckiger's website,

你可以在 Barbara Flueckiger 的網站上學到更多關於特藝彩色的知識

or Eastman House, which was really generous with their time and a lot of the images that

或是 Eastman House，他們付出了大量的時間還有

you saw in this video.

你在這部影片裡看到的圖片

I've linked both of those below.

我把兩個連結都放在下面了

You can see the director's commentary for this video in an additional video that we've

你可以在我們做的這個額外的影片裡找到導演對這影片的評論

made where I share some behind-the-scenes info and a few of the details that couldn't

我也分享了一些幕後資訊，還有一些細節我們沒辦法

quite fit in.

放進來