US3705762A - Method for converting black-and-white films to color films - Google Patents

Method for converting black-and-white films to color films Download PDF

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US3705762A
US3705762A US182044A US3705762DA US3705762A US 3705762 A US3705762 A US 3705762A US 182044 A US182044 A US 182044A US 3705762D A US3705762D A US 3705762DA US 3705762 A US3705762 A US 3705762A
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background
scene
montage
frames
film
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Fred Ladd
Jung Hoon Song
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COLOR SYSTEMS Inc
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COLOR SYSTEMS Inc
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    • G—PHYSICS
    • G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
    • G03B—APPARATUS OR ARRANGEMENTS FOR TAKING PHOTOGRAPHS OR FOR PROJECTING OR VIEWING THEM; APPARATUS OR ARRANGEMENTS EMPLOYING ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ACCESSORIES THEREFOR
    • G03B15/00—Special procedures for taking photographs; Apparatus therefor
    • G03B15/08—Trick photography
    • G—PHYSICS
    • G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
    • G03C—PHOTOSENSITIVE MATERIALS FOR PHOTOGRAPHIC PURPOSES; PHOTOGRAPHIC PROCESSES, e.g. CINE, X-RAY, COLOUR, STEREO-PHOTOGRAPHIC PROCESSES; AUXILIARY PROCESSES IN PHOTOGRAPHY
    • G03C7/00—Multicolour photographic processes or agents therefor; Regeneration of such processing agents; Photosensitive materials for multicolour processes
    • G03C7/22—Subtractive cinematographic processes; Materials therefor; Preparing or processing such materials

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  • I ABSTRACT A method for converting black-and-white animated cartoons to color cartoons. An enlarged print is made for each frame of the cartoon, a celluloid sheet is placed over each print, the outlines of the characters in the frame are drawn on the sheet, and the characters are then hand colored. Several prints corresponding to each scene are then cut in order to derive unobstructed background views. The background views are pieced together to form a photo-montage of the background for the scene. The background is then hand colored. The final color film is made by placing successive celluloid sheets in successive positions on a common background and exposing the final film frame-by-frame. A similar technique is disclosed for converting live-action films.
  • the background for each of the frames in a scene is the same; the physical dimensions of the background correspond to the frame size.
  • the background is not fixed for successive frames.
  • the first frame in the sequence would have the character in front of the left side of the house on the left side of the frame
  • the last frame of the sequence would have the character in front of the right side of the house on the right side of the frame
  • the intermediate frames would have the character at intermediate positions in front of the would become available for television broadcast purposes.
  • Each frame of a'cartoon generally consists of both a background scene and characters in the foreground.
  • the background might be a landscape scene or some other stationary objects.
  • the positions of the characters change from frame to frame (thus requiring the drawing and coloring of characters for every frame in the film), but as a general proposition the backgrounds also vary from frame to frame. But the backgrounds vary to a much lesser extent. For example, consider a cartoon character running in front of a house in the background. If the background is the same in all frames, the only difference from frame to frame would be in the character movement (arms, mouth, etc.) and the position of the character relative to the background.
  • the simplest way to make a cartoon sequence of this type is to draw (in color) a single background scene, for example, a landscape in which a house is prominently featured.
  • a single background scene for example, a landscape in which a house is prominently featured.
  • the scene requires 50 different frames.
  • a piece of clear celluloid is taken and the outlines of the character or characters to be depicted in the frame are first drawn. Then color is applied within the outlines.
  • the scene is shot by placing the celluloid sheets in suc cession on top of the background, and exposing a single frame of the film for each celluloid sheet placed on the background.
  • the background shows through the clear celluloid, except in those portions containing the character.
  • successive frames of the final film depict the character moving across a fixed" house.
  • the first celluloid sheet is then removed, and the second is placed slightly to the right of the position of the first.
  • the second frame is then shot.
  • the third celluloid sheet is then placed on the same background but slightly to the right of the position of the second celluloid sheet. This process is continued and it is apparent that although the same background is used for each frame, a different portion of the background is overlayed by each celluloid sheet.
  • Black-and-white cartoons have been made in the same way, except that the background scenes, as well as the individual celluloid sheets, have been colored only in black and white. But once a black-and-white cartoon film is in existence, it would appear that the only way to convert it to a color film would be to completely color each individual frame, the reason for this being that in almost all cases the backgrounds and the individual celluloid sheets are no longer available for the application of color to them.
  • Parts of unobstructed backgrounds from enough of the large prints comprising each scene are cut so that when they are pieced together (for example, by pasting them on a cardboard backing) what is obtained is a complete, unobscured, extra-wide background scene.
  • the frame prints which are used are generally those containing relatively large areas of unobscured background. This reduces the total number of cut pieces which must be used to form the composite picture.
  • a complete, composite background can be made from several of the frames comprising each scene. Once the black-and-white background montage is pieced together, it is colored and then used together with the individual color celluloid sheets to shoot the final film in a conventional manner.
  • This stripping apart of the original black-and-white film, followed by the making of the background montages, the coloring steps and the final photography, enable a color film to be made at a cost which is less than that of making a color film from scratch and which is also less than that of completely and individually hand coloring each frame of the black-andwhite film.
  • the celluloid sheets with color cartoon characters are relatively simple to derive; while in the making of an original cartoon the characters must be created for each frame, all'that is required in the conversion process is to trace their outlines on a frame-byframe basis and to then color them. And even with respect to the background required for each scene, it is not necessary to draw the background without benefit of any prior work.
  • a black-and-white background can be constructed by making a montage, and then all that is required is to hand color the composite picture.
  • FIGS. 1-8 depict some of the successive steps employed to convert'an animated cartoon.
  • FIG. 9 depicts an additional step which is advantageous in the conversion of live-action films.
  • FIG. 1 depicts a single frame 20-h of a black-andwhite cartoon film 16, together with partial views of the adjacent frames 20-a and 20-0.
  • the drawing is symbolic only and is intended to show a cartoon character 22 in front of a background scene.
  • the first step in the conversion method is the fonning of a negative film strip 24, the'step being shown symbolically by arrow 18.
  • the negative is made in accordance with standard techniques.
  • FIG. 2 depicts several frames in the overall film (negative), and is designed to show the manner in which the film may be first analyzed before any further steps are taken in the conversion process.
  • the analysis of the film reveals its exact length in footage and frames, the number of sequences it contains, and the number of scenes in each sequence.
  • Each sequence is a set of successive frames involving the same characters.
  • One full sequence (N) is shown in FIG. 2, together with part of the next sequence (N+1).
  • Each sequence comprises one or more scenes, each scene being a set of successive frames depicting the same background or different parts of the same overall background.
  • the first and last frames of the first scene in sequence (N) are shown, together with the first and last frames of the last scene I of the same sequence. Analyzing the film in this manner simplifies subsequent processing in that it provides an indication of the number of different backgrounds required, thenumber of different characters, the total time that can be expected to be expended in the processing, etc.
  • FIG. 3 shows a typical frame 24 of the negative and the resulting enlarged print. Since the print is a positive picture, each print corresponds exactly to a respective frame in the original film. For example, print 26 of FIG. 3 is a replica of frame 20-h of FIG. 1. Each print is numbered to correspond to its respective frame position in the negative'film. Subsequent processing is performed by making use of the enlarged prints.
  • the foreground motions of the characters are separated from or, in effect, matted off" the backgrounds.
  • This is accomplished by placing a transparent sheet of material, such as celluloid 28 in FIG. 4, over each print 26 and tracing in ink all key motions on the transparent sheet.
  • more than just characters may be traced on the celluloid sheets. For example, consider a ball which is thrown by a cartoon character. The balls position relative to the background changes from frame-to-frame.
  • the next step is to color the characters whose outlines appear on the clear overlays 28.
  • a color scheme must be planned for the film on a scene-and-sequence basis. Artists select colors for the costumes of the characters and their skin tones to harmonize with the colors selected for the backgrounds. As aids, colored papers, and tinted transparent films may be used for checking various combinations. The colors selected for the characters and backgrounds in each scene are generally written down for reference purposes before the actual coloring begins.
  • the coloring of the characters is a hand process in which the specified colors are brushed on the reverse side of the overlay sheets within the character outlines.
  • an air brush 30 is shown spraying paint 32 on the reverse side of overlay 28.
  • the reverse side of each clear sheet is painted so as not to obscure the black outline of each character; in a cartoon, black outlines are desirable.
  • skin tones are generally applied first, followed by jacket colors, trousers and shoes for most cartoon characters.
  • there is a celluloid sheet for each frame of the film which contains an exact replica of the cartoon characters in the frame in full, opaque color.
  • the enlarged prints are also used for constructing the backgrounds.
  • key stills are selected from each scene, cut and pieced together to produce a background which is suitable for use with the overlays in shooting the final picture.
  • On a long pan shot over a city or field as many as eight or nine different stills may be selected and assembled into a composite photo-montage showing only the background.
  • FIG. 6 shows the manner in which a composite background may be made from seven different stills (only two of which are shown in the drawing). It is assumed that the scene contains 50 frames, 24-1 through 24-50. It is further assumed that the character in the scene appears at the left of frame 24-1, at the right of frame 24-50, and at intermediate positions in the intermediate frames.
  • the photo-montage for each scene is then painted in different colors (shown in the drawing by different cross-hatching), for example, by again using an air brush 30. It is the front of the photomontage (which is not transparent) which is painted as shown in FIG. 7. Preferably, opaque poster colors are used.
  • the actual color cartoon is shot as depicted in FIG. 8.
  • the drawing shows a multi-color background most edge slightly to the right of the position of the leftmost edge of sheet 28 in FIG. 8. At the same time, the
  • the camera may be moved to the right by the same distance prior to exposure of the next frame. (In actuality, the camera may beheld stationary, and the background moved to the leftin incremental steps, with successive celluloid sheets'being placed in the same position relative to the camera.)
  • reversal film is used so that a positive is available immediately after the film processing, although other conventional photographic films and photographic processes may be employed.
  • the scenes are not necessarily shot in sequence, that is, the film shooting does not have to follow the original film on a scene-by-scene basis.
  • all scenes utilizing the same background are shot in tandem.
  • another background is used for the shooting of all scenes which take place in that set.
  • the same background may be used in dif-' ferent, separated scenes in the overall film and it is most convenient to shoot the scenes out of sequence and subsequently edit the film.
  • a scene identifying number may be photographed in the frame immediately preceding each scene.
  • the scenes can be properly sequenced and spliced together in accordance with conventional practice, and the original sound track on the black-and-white film may print is made.
  • a print is required for each frame for the purpose of coloring the performers directly on the print (rather than on a sheet of celluloid). Since in the basic process several of the prints for each scene are cut up and pieced together to construct a background, for some frames two enlarged prints must be made.
  • the prints may be made on black-and-white stock as inthe case of animated cartoons. However, it is also possible to make the prints on brown-and-white (sepia tone) stock. The'reason for this will be explained below.
  • a typical frame (print) 50 is shown as consisting of a performer in front of a background scene.
  • Two black mattes or masks are prepared from the print 50 as shown by arrows 52.
  • the first matte 54 is completely black except in that area which would overlay the performer were the matte placed upon print 50.
  • the matte can be prepared by utilizing a piece of clear celluloid,
  • the second mask 56 is exactly the opposite; it is clear throughout except in that area which would overlay the performer were the mask placed on top of print 50.
  • the two masks are complementary in that they block light and transmit light from the print in mutually exclusive regions.
  • the monochromatic prints are then examined and color schemes are planned.
  • the colors which are specified for the case of live-action must be realistic and authentic, as opposed to stylized or exaggerated colors which are often preferable for animated cartoons. It is then that the coloring of the characters or performers takes place.
  • animated cartoons as depicted in FIGS. 4 and 5, a sheet of transparent material is used for coloring the characters in each frame. This is not desirable for live-action films. Instead, the monochromatic print for each frame is itself hand colored, the coloring operation being confined to the live-action players. Skin tones areapplied first followed by the coloring of clothing. The coloring is relatively simple because there is no need to confine the color to the outlines of the performers.
  • the colored print is used to expose a frame in the final film, it is covered by a mask such as mask 54 in FIG. 9 and consequently the final film frame is exposed only in an area corresponding to the actual performer in the print being used for the ex-. posure.
  • the backgrounds are ignored (except insofar as they are accidentally colored which, as just described, presents no problem).
  • sepia-tone stock is that a Caucasion male star may already appear with life-like pink skin tones, brown eyes, sandy hair, and even be attired in a brown suit in the print, and there is thus much less coloring which must be done.
  • the color backgrounds are made exactly as they are for animated cartoons. Key stills are selected from each scene in the film, and they are cut and thenpieced together to construct a background which can be used subsequently in the final photography.
  • the specified colors are then applied to the photo-montage, principally by utilizing an'air brush technique. As explained above, in some cases it may be necessary to make a print of the background and to color the print so that the cuts are not visible inthe final film.
  • a background is then taken and the first mask of the type shown by numeral 56 in FIG. 9 for the respective scene is placed in the correct position on the background.
  • a frame in the film contained in the camera is exposed and what is seen is a colored background which is blacked out wherever performers should appear.
  • the background is then advanced slightly and the next mask 56, corresponding to the next frame, is positioned on the background, the film in the camera is advanced by a single frame, and the frame is then exposed. This process is continued until the entire scene is photographed, that is, until the background for each of the frames in the scene has been photographed.
  • the film is then rewound in preparation for a second exposure of each frame. This time, however, the color background is not used. Instead, the first print 50 (FIG. 9) is placed under the camera underneath its respective mask 54. The mask prevents the already exposed background portion of the frame from being exposed once again, and what now happens is that the part of the frame corresponding to the performer is exposed in accordance with the color performer appearing on the print.
  • the film is then advanced to the next frame, and the next print with its corresponding mask 54 is placed under the camera. This process continues until all frames in the scene are exposed once again. For any given scene the color film rolls past the camera lens twice once for recording the background alone and once for recording the performers alone. The result is that each frame, in color, matches a corresponding frame in the original black-and-white film.
  • the film can i then be edited and the sound track recorded as in the case of animated cartoons.
  • a method for converting a black-and-white animated cartoon film to a color film comprising the steps of:
  • step (2) the outlines of the characters on each transparent sheet are drawn on one side of the sheet and the coloring of the characters is done on the other side of the sheet, and in step (4) each transparent, colored, character-containing sheet is placed on top of the respective colored background photo-montage with said other side facing the background photo-montage.
  • step (2) the characters on a transparent sheet are colored by applying vinyl colors to the sheet.
  • a method for converting a black-and-white liveaction film to a color film comprising the steps of:
  • first mask serving to block light from the performers in said print but allowing the transmission therethrough of light from the background in said print
  • the second mask serving to block light from the background in said print but allowing the transmission therethrough of light from the performers in said print
  • step (1) includes the sub-steps of making a negative of said black-and white film and making enlarged photographic prints of frames of said negative.
  • each print made in step (1) is made on brown-andwhite stock.
  • step (4) the photo-montage for each scene is constructed by photographing the pieced together cut background sections for the scene.
  • step (4) a background photo-montage is colored by applying poster colors to the photo-montage.
  • step (1) includes the sub-steps of making a negative of said black-and-white film and makingenlarged photographic prints of frames of said negative.
  • step (3) the photo-montage for each scene is constructed by photographing the pieced together cut background sections for the scene.
  • step (3) a background photo-montage is colored by applying poster colors to the photo-montage.
  • a method for converting a black-and-white film to a color film comprising the steps of:

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Cited By (21)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US4003653A (en) * 1975-03-17 1977-01-18 General Electric Company Method of producing color slides from black and white originals
US4368587A (en) * 1979-04-20 1983-01-18 Bernard Childs Method of making color separation plates used as a proof and a positive for making offset printing plates photographically
EP0185794A1 (en) * 1984-12-24 1986-07-02 Agfa-Gevaert N.V. Method for the production of a combined live-action and animation motion picture film
WO2002091302A3 (en) * 2001-05-04 2004-01-22 Legend Films Llc Image sequence enhancement system and method
US7907793B1 (en) 2001-05-04 2011-03-15 Legend Films Inc. Image sequence depth enhancement system and method
US8160390B1 (en) 1970-01-21 2012-04-17 Legend3D, Inc. Minimal artifact image sequence depth enhancement system and method
US8385684B2 (en) 2001-05-04 2013-02-26 Legend3D, Inc. System and method for minimal iteration workflow for image sequence depth enhancement
US8730232B2 (en) 2011-02-01 2014-05-20 Legend3D, Inc. Director-style based 2D to 3D movie conversion system and method
US8897596B1 (en) 2001-05-04 2014-11-25 Legend3D, Inc. System and method for rapid image sequence depth enhancement with translucent elements
US9007404B2 (en) 2013-03-15 2015-04-14 Legend3D, Inc. Tilt-based look around effect image enhancement method
US9007365B2 (en) 2012-11-27 2015-04-14 Legend3D, Inc. Line depth augmentation system and method for conversion of 2D images to 3D images
US9031383B2 (en) 2001-05-04 2015-05-12 Legend3D, Inc. Motion picture project management system
US9113130B2 (en) 2012-02-06 2015-08-18 Legend3D, Inc. Multi-stage production pipeline system
US9241147B2 (en) 2013-05-01 2016-01-19 Legend3D, Inc. External depth map transformation method for conversion of two-dimensional images to stereoscopic images
US9282321B2 (en) 2011-02-17 2016-03-08 Legend3D, Inc. 3D model multi-reviewer system
US9288476B2 (en) 2011-02-17 2016-03-15 Legend3D, Inc. System and method for real-time depth modification of stereo images of a virtual reality environment
US9286941B2 (en) 2001-05-04 2016-03-15 Legend3D, Inc. Image sequence enhancement and motion picture project management system
US9407904B2 (en) 2013-05-01 2016-08-02 Legend3D, Inc. Method for creating 3D virtual reality from 2D images
US9438878B2 (en) 2013-05-01 2016-09-06 Legend3D, Inc. Method of converting 2D video to 3D video using 3D object models
US9547937B2 (en) 2012-11-30 2017-01-17 Legend3D, Inc. Three-dimensional annotation system and method
US9609307B1 (en) 2015-09-17 2017-03-28 Legend3D, Inc. Method of converting 2D video to 3D video using machine learning

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JPH02113912A (ja) * 1988-10-24 1990-04-26 Dobashi Kikai:Kk 複合発泡成形体の製造方法

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US3301626A (en) * 1963-06-05 1967-01-31 Westworld Artists Productions Method of producing colored animated cartoons
US3619051A (en) * 1969-10-23 1971-11-09 Norman Wright Productions Inc Production of color films from monochromatic film

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US3301626A (en) * 1963-06-05 1967-01-31 Westworld Artists Productions Method of producing colored animated cartoons
US3619051A (en) * 1969-10-23 1971-11-09 Norman Wright Productions Inc Production of color films from monochromatic film

Cited By (32)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US8160390B1 (en) 1970-01-21 2012-04-17 Legend3D, Inc. Minimal artifact image sequence depth enhancement system and method
US4003653A (en) * 1975-03-17 1977-01-18 General Electric Company Method of producing color slides from black and white originals
US4368587A (en) * 1979-04-20 1983-01-18 Bernard Childs Method of making color separation plates used as a proof and a positive for making offset printing plates photographically
EP0185794A1 (en) * 1984-12-24 1986-07-02 Agfa-Gevaert N.V. Method for the production of a combined live-action and animation motion picture film
US9286941B2 (en) 2001-05-04 2016-03-15 Legend3D, Inc. Image sequence enhancement and motion picture project management system
US8396328B2 (en) 2001-05-04 2013-03-12 Legend3D, Inc. Minimal artifact image sequence depth enhancement system and method
US7907793B1 (en) 2001-05-04 2011-03-15 Legend Films Inc. Image sequence depth enhancement system and method
US8073247B1 (en) 2001-05-04 2011-12-06 Legend3D, Inc. Minimal artifact image sequence depth enhancement system and method
US8078006B1 (en) 2001-05-04 2011-12-13 Legend3D, Inc. Minimal artifact image sequence depth enhancement system and method
US20040131249A1 (en) * 2001-05-04 2004-07-08 Barry Sandrew Image sequence enhancement system and method
US8385684B2 (en) 2001-05-04 2013-02-26 Legend3D, Inc. System and method for minimal iteration workflow for image sequence depth enhancement
US7181081B2 (en) 2001-05-04 2007-02-20 Legend Films Inc. Image sequence enhancement system and method
US8401336B2 (en) 2001-05-04 2013-03-19 Legend3D, Inc. System and method for rapid image sequence depth enhancement with augmented computer-generated elements
US9031383B2 (en) 2001-05-04 2015-05-12 Legend3D, Inc. Motion picture project management system
US8897596B1 (en) 2001-05-04 2014-11-25 Legend3D, Inc. System and method for rapid image sequence depth enhancement with translucent elements
US8953905B2 (en) 2001-05-04 2015-02-10 Legend3D, Inc. Rapid workflow system and method for image sequence depth enhancement
US9615082B2 (en) 2001-05-04 2017-04-04 Legend3D, Inc. Image sequence enhancement and motion picture project management system and method
WO2002091302A3 (en) * 2001-05-04 2004-01-22 Legend Films Llc Image sequence enhancement system and method
US8730232B2 (en) 2011-02-01 2014-05-20 Legend3D, Inc. Director-style based 2D to 3D movie conversion system and method
US9288476B2 (en) 2011-02-17 2016-03-15 Legend3D, Inc. System and method for real-time depth modification of stereo images of a virtual reality environment
US9282321B2 (en) 2011-02-17 2016-03-08 Legend3D, Inc. 3D model multi-reviewer system
US9270965B2 (en) 2012-02-06 2016-02-23 Legend 3D, Inc. Multi-stage production pipeline system
US9113130B2 (en) 2012-02-06 2015-08-18 Legend3D, Inc. Multi-stage production pipeline system
US9443555B2 (en) 2012-02-06 2016-09-13 Legend3D, Inc. Multi-stage production pipeline system
US9595296B2 (en) 2012-02-06 2017-03-14 Legend3D, Inc. Multi-stage production pipeline system
US9007365B2 (en) 2012-11-27 2015-04-14 Legend3D, Inc. Line depth augmentation system and method for conversion of 2D images to 3D images
US9547937B2 (en) 2012-11-30 2017-01-17 Legend3D, Inc. Three-dimensional annotation system and method
US9007404B2 (en) 2013-03-15 2015-04-14 Legend3D, Inc. Tilt-based look around effect image enhancement method
US9241147B2 (en) 2013-05-01 2016-01-19 Legend3D, Inc. External depth map transformation method for conversion of two-dimensional images to stereoscopic images
US9407904B2 (en) 2013-05-01 2016-08-02 Legend3D, Inc. Method for creating 3D virtual reality from 2D images
US9438878B2 (en) 2013-05-01 2016-09-06 Legend3D, Inc. Method of converting 2D video to 3D video using 3D object models
US9609307B1 (en) 2015-09-17 2017-03-28 Legend3D, Inc. Method of converting 2D video to 3D video using machine learning

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