How Technicolor created ruby slippers without using color film

Technicolor film was not colour picture , and it did not produce anything like lifelike colors . But how did it create color movies ? And why did those coloration beam ? And why did all of it lead to Dorothy get deep red slider ?

As anyone who has go through an old Technicolor film knows , it looks unearthly . Blue eyes look like they glow . pinkish faces look like they ’ve been painted dish . blood-red looks chilling . It all looks coloured , not record — and that ’s because it was . There was n’t any colour film at the time that Technicolor was making its full-grown splash . No one had figured out how to make a film stock that would record color . They had , however , found a way to make film stock that would filter out all the color that should n’t get through . And they had dyes . By putting them together , they made Technicolor glorious .

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Technicolor tv camera did n’t film in color . Instead they filmed in ignominious and white , with dissimilar filter . The light entered the camera lense and went to a half - silvered mirror , which split the beam of light through a magenta lens ( red and blue together ) , and a gullible electron lens . Behind the magenta lens was movie sensitive to blue light , and film sensitive to red light . Behind the green lens was just plain light - raw film . The production gang ended up with three sets of film , one showing the blue Inner Light that the target they were film gave off , one showing the red light , and one showing the green . All of these were black and snowy photographic film strips . They just showed odd - looking pictures . For example , on the ‘ blue ’ roll , a person with few blue tones in their skin would have pelt that looked completely dark , while a low ribbon would expect double-dyed whitened . Each of the grim and bloodless image were dye with its proper color . Sometimes , when they were dyed , the plastic film would combined and re - filtered , so that only bright blues would make it out of the blue - dyed film .

At last , when it was time for the film to be demonstrate , the three dyed films would be layer on top of one another , to make ‘ splendid technicolor . ’ This is why , particularly in the early films , the coloring looks so painterly . It ’s also why most early films nigh cause eyestrain — specially the renowned film The Wizard of Oz . The Technicolor process was expensive , not just because of the camera and the technicians needed to film , but the many incidental technical issues . Some colors , if they were too subtle , would of a sudden pop out as other colors . Yellows would work green in random patches , if too much of the incorrect vividness was filter out out . And since the beam of visible radiation get into the camera was break open between multiple flick , only a fraction of the light in the studio made it onto any one moving-picture show . This meant that the studio apartment needed to be extra bright . Many regular on The Wizard of Oz quetch of middle legal injury from the studio lights , that lasted years .

Mostly , though , it meant that production teams did n’t want to scourge a individual chance for color . In the book , Dorothy ’s slipper were atomic number 47 , and the white-livered brick road , silver slipper , and emerald green city were said to symbolise the gold touchstone , silverites , and paper money . But silver slider were no fun at all on moving-picture show . They might as well be film in black and white . Red , however , was easy to see , eye - catching , and did n’t make for havoc with the color intermixture — the way the famed yellow - brick route often did . Hence the ruby slippers , which made the most of Technicolor , and an American fairy - tale was changed everlastingly .

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