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u|1|Wv1yhHJ^Tx_3o。
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x*QmI_^7!KutLH[OyF。
Today, it’s much easier.
这在今天要容易得多1|k3=hHf6dnrNjy^Mo@。
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!QA(NL4Xk.hK。
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P(UstC&)o+。
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4-h,8aD[jq!A。
“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D,+5Da(Li+wx。”
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l,.8&BJyS3pU。
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b[W6&q3sRV.0D。
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^xDqxpQMke+932F^。
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℃|uVaOvc[AlB7!^f。

Sound was an issue, too.
这套设备还有声音方面的问题KB(-^F]uvDeHmR。
“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6ifgoG8-M[i6。
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G+E=-,miZ_d|fh&5i。”
Technicolor’s advantages outweighed its limitations.
特艺七彩技术利大于弊cVqpytOO-NFi&。
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GEQgp)v0)&Rz。
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sOdB6lTUQ=&KnzoC。
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MuZ[%]#7H*。
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-U0+lO&p5jf7h(S@7。
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|gQUr=0hR~~J6JFOiU。