How (and Why) Are Black and White Films Colorized?

iStock/Grassetto
iStock/Grassetto

Anyone who spent time flipping channels and watching movies on cable during the 1980s and early 1990s probably remembers screening a few colorized films. The films, which had originally been shot in black-and-white, didn’t look quite the same as “real” color movies, but they seemed a bit more familiar than the old black-and-white prints. How did that colorization process work, though? Let’s take a look at the controversial technique.

Early film colorization dates back to the beginning of the 20th century. These processes were decidedly low-tech, though; artists would hand color copies of films before sending them to theaters.

The computerized colorization process with which we’re familiar didn’t come into play until former NASA engineer Wilson Markle invented it in 1970. Markle’s first project involved adding color to the original moon landing footage, but he gradually turned his eye to commercial projects and founded Colorization, Inc. in 1983.

Markle’s process required a lot of technology, but its underlying concept was simple and fairly elegant. His technicians would make a copy of a film and feed it into a computer that would determine the precise shade of gray of every object in a scene. The technicians then used a palette of over 4,000 shades of color to color the first frame in each scene. For each successive frame, technicians only had to recolor any pixels that had moved.

The process wasn’t completely digitized, though. The technicians had to figure out what color to assign to certain objects in each scene. As the Museum of Broadcast Communications notes, some objects would get their colors assigned via common sense (e.g. the ocean is usually blue), but others required technicians to engage in a bit of movie archaeology. Studio photographs of productions and romps through studio costume shops often helped determine what color a prop or costume really was. If those methods failed, technicians could fall back on coloring items at their own discretion. As you might expect, this process wasn’t cheap; it set producers back upwards of $3,000 per minute of film.

Why did studios and copyright holders go to all the trouble of colorizing films? It was an easy way to breathe new life into their back catalogs. Audiences didn’t want to watch old black-and-white films, but they would show up in droves for colorized versions. The Museum of Broadcast Communications cites a 1988 Variety report that estimated the cost of colorizing a feature film was somewhere around $300,000. The average revenue generated by re-releasing the films topped $500,000, though.

It’s easy to see why studios loved colorization. What business wouldn’t like a little trick where it could nearly double its investment just by dusting off an old product it had sitting on the shelf? Filmmakers weren’t as crazy about it, though. They had spent hundreds of hours painstakingly crafting their films, and they didn’t want anyone mucking around with their visuals.

Ted Turner was perhaps the most visible proponent of colorizing films throughout the 1980s. Turner International owned a gigantic library of old films, and Turner reasonably saw these old movies as a potential cash cow.

This position didn’t endear Turner to directors, though. In 1985, Turner announced that he was considering colorizing Citizen Kane. Orson Welles was in failing health by then, but just a few weeks before he died he asked a friend, “Don’t let Ted Turner deface my movie with his crayons.” Turner eventually opted not to touch Citizen Kane.

Other filmmakers had tougher sledding in battles over colorization. In 1988, Turner International licensed the French broadcast rights to John Huston’s 1950 film noir masterpiece The Asphalt Jungle to La Cinq. Huston had died the previous year, but his daughter, actress Anjelica, was horrified at the thought of her father’s dark heist film being colorized. She sued in France to stop the airing of the colorized version of the film.

Huston initially won a lower court ruling, but after a series of appeals her case ended up in front of the French Supreme Court. Finally, in 1991, the court ruled in favor of Huston by saying that creators and their heirs had a “moral right” to determine the ultimate fate of their works of art. (It’s worth noting that not all artists loathed the colorization process; Cary Grant was said to be a big fan of the 1985 re-release of his 1937 comedy Topper.)

By the early 90s, though, film colorization had pretty much burned out as a hot-button Hollywood issue. Audiences stopped clamoring for colorized versions of classics, and such an expensive process needed strong, steady demand to remain lucrative. Colorized versions of movies still pop up occasionally – Legend Films released a new colorized DVD of It’s a Wonderful Life in 2007 – but the raging debate from the 80s is all but dead.

10 Rad Gifts for Hikers

Greg Rosenke/Unsplash
Greg Rosenke/Unsplash

The popularity of bird-watching, camping, and hiking has skyrocketed this year. Whether your gift recipients are weekend warriors or seasoned dirtbags, they'll appreciate these tools and gear for getting most out of their hiking experience.

1. Stanley Nesting Two-Cup Cookset; $14

Amazon

Stanley’s compact and lightweight cookset includes a 20-ounce stainless steel pot with a locking handle, a vented lid, and two insulated 10-ounce tumblers. It’s the perfect size for brewing hot coffee, rehydrating soup, or boiling water while out on the trail with a buddy. And as some hardcore backpackers note in their Amazon reviews, your favorite hiker can take the tumblers out and stuff the pot with a camp stove, matches, and other necessities to make good use of space in their pack.

Buy it: Amazon

2. Osprey Sirrus and Stratos 24-Liter Hiking Packs; $140

Amazon

Osprey’s packs are designed with trail-tested details to maximize comfort and ease of use. The Sirrus pack (pictured) is sized for women, while the Stratos fits men’s proportions. Both include an internal sleeve for a hydration reservoir, exterior mesh and hipbelt pockets, an attachment for carrying trekking poles, and a built-in rain cover.

Buy them: Amazon, Amazon

3. Yeti Rambler 18-Ounce Bottle; $48

Amazon

Nothing beats ice-cold water after a summer hike or a sip of hot tea during a winter walk. The Yeti Rambler can serve up both: Beverages can stay hot or cold for hours thanks to its insulated construction, and its steel body (in a variety of colors) is basically indestructible. It will add weight to your hiker's pack, though—for a lighter-weight, non-insulated option, the tried-and-true Camelbak Chute water bottle is incredibly sturdy and leakproof.

Buy it: Amazon

4. Mappinners Greatest 100 Hikes of the National Parks Scratch-Off Poster; $30

Amazon

The perfect gift for park baggers in your life (or yourself), this 16-inch-by-20-inch poster features epic hikes like Angel’s Landing in Zion National Park and Half Dome in Yosemite National Park. Once the hike is complete, you can scratch off the gold foil to reveal an illustration of the park.

Buy it: Amazon

5. National Geographic Adventure Edition Road Atlas; $19

Amazon

Hikers can use this brand-new, updated road atlas to plan their next adventure. In addition to comprehensive maps of all 50 states, Puerto Rico, Canada, and Mexico, they'll get National Geographic’s top 100 outdoor destinations, useful details about the most popular national parks, and points on the maps noting off-the-beaten-path places to explore.  

Buy it: Amazon

6. Adventure Medical Kits Hiker First-Aid Kit; $25

Amazon

This handy 67-piece kit is stuffed with all the things you hope your hiker will never need in the wilderness. Not only does it contain supplies for pain, cuts and scrapes, burns, and blisters (every hiker’s nemesis!), the items are organized clearly in the bag to make it easy to find tweezers or an alcohol wipe in an emergency.

Buy it: Amazon

7. Hiker Hunger Ultralight Trekking Poles; $70

Amazon

Trekking poles will help increase your hiker's balance and stability and reduce strain on their lower body by distributing it to their arms and shoulders. This pair is made of carbon fiber, a super-strong and lightweight material. From the sweat-absorbing cork handles to the selection of pole tips for different terrain, these poles answer every need on the trail. 

Buy it: Amazon

8. Leatherman Signal Camping Multitool; $120

Amazon

What can’t this multitool do? This gadget contains 19 hiking-friendly tools in a 4.5-inch package, including pliers, screwdrivers, bottle opener, saw, knife, hammer, wire cutter, and even an emergency whistle.

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9. RAVPower Power Bank; $24

Amazon

Don’t let your hiker get caught off the grid with a dead phone. They can charge RAVPower’s compact power bank before they head out on the trail, and then use it to quickly juice up a phone or tablet when the batteries get low. Its 3-inch-by-5-inch profile won’t take up much room in a pack or purse.

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10. Pack of Four Indestructible Field Books; $14

Amazon

Neither rain, nor snow, nor hail will be a match for these waterproof, tearproof 3.5-inch-by-5.5-inch notebooks. Your hiker can stick one in their pocket along with a regular pen or pencil to record details of their hike or brainstorm their next viral Tweet.

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Alice Dunnigan, the First Black Woman Journalist to Get White House Press Credentials

Schlesinger Library, RIAS, Harvard University // No Known Copyright Restrictions
Schlesinger Library, RIAS, Harvard University // No Known Copyright Restrictions

Alice Dunnigan’s birthplace of Russellville, Kentucky, is more than 700 miles from Washington, D.C. And for Black women journalists in the early 20th century, the dream of heading to the Capitol and covering national politics at the highest level seemed even more distant. But Dunnigan overcame racism, sexism, and other obstacles to make history as the first Black woman credentialed to cover the White House. Dunnigan, whose grandparents were born into slavery, would combat discrimination and champion freedom of the press while covering three U.S. presidents.

A Long Road to Writing Success

Born on April 27, 1906, Alice Allison Dunnigan grew up in a cottage on a red clay hill outside Russellville, a former Confederate Civil War stronghold (population 5000). Dunnigan’s father was a tenant farmer, while her mother took in laundry. Their precocious daughter learned to read before entering the first grade, and she began writing for the Owensboro Enterprise when she was just 13. After graduating from the segregated Knob City High School in 1923, she completed a teaching course at Kentucky State University.

During Dunnigan’s 18-year career as a Todd County teacher, her annual salary never topped $800. Her aspirations went beyond teaching: She wrote “Kentucky Fact Sheets,” highlighting Black contributions to state history that the official curriculum omitted, and took journalism classes at Tennessee A&I College (now Tennessee State University). Her two marriages to tobacco farmer Walter Dickenson in 1925 and childhood pal Charles Dunnigan in 1932 did not pan out. To pursue her career, she made the tough decision to have her parents raise Robert, her son from her second marriage, for 17 years. In 1935, she moved to Louisville, Kentucky, where she worked for Black-owned newspapers like the Louisville Defender.

With the Jim Crow era still in force and World War II raging, Dunnigan made her next big move to Washington, D.C., in 1942. Vying to escape poverty, she joined the federal civil service and earned $1440 a year as a War Labor Board clerk. Yet even four years later, when she was working as an economist after studying at Howard University and commanding a $2600 salary—double that of the average Black woman in the nation's capital—journalism kept calling her name.

Dunnigan became a Washington, D.C., correspondent in 1946 for the Associated Negro Press (ANP), the first Black-owned wire service, supplying more than 100 newspapers nationwide. It was her ticket to covering national politics.

Fearlessly Covering the White House

Dunnigan’s passion for journalism didn’t boost her bank account. Claude A. Barnett, her ANP publisher, gave her a starting monthly salary of $100—half of what his male writers earned. “Race and sex were twin strikes against me,” Dunnigan said later. “I’m not sure which was the hardest to break down.” To stay afloat financially, she often pawned her watch and shoveled coal, subsisting on basic food like hog ears and greens. To relax, she drank Bloody Marys and smoked her pipe.

Named ANP’s bureau chief in 1947, Dunnigan forged ahead as a political reporter despite Barnett’s skepticism. “For years we have tried to get a man accredited to the Capitol Galleries and have not succeeded,” Barnett told her. “What makes you think that you—a woman—can accomplish this feat?” Though the ANP had never endorsed her application for a Capitol press pass, Dunnigan's repeated efforts finally paid off. She was approved for a Capitol press pass in July 1947, and swiftly followed up with a successful request for White House media credentials.

In 1948, Dunnigan became a full-fledged White House correspondent. When she was invited to join the press corps accompanying President Harry S. Truman’s re-election campaign, Barnett declined to pay her way—so Dunnigan took out a loan and went anyway. As one of just three Black reporters and the only Black woman covering Truman’s whistle-stop tour out West, she experienced highs and lows.

In Cheyenne, Wyoming, when Dunnigan tried to walk with other journalists behind Truman’s motorcade, a military officer, assuming she was an interloper, pushed her back toward the spectators. Another journalist had to intervene on her behalf. Afterward, Truman found her typing in her compartment on the presidential Ferdinand Magellan train and said, “I heard you had a little trouble. Well, if anything else happens, please let me know.”

Dunnigan later landed a scoop in Missoula, Montana, when Truman got off the train at night in his dressing gown to address a crowd of students. Her headline read: “Pajama Clad President Defends Civil Rights at Midnight.”

Her relationship with President Dwight D. Eisenhower in the 1950s was more contentious. The two-term Republican president disliked her persistent questions about hiring practices that discriminated against Black Americans, segregation at military base schools, and other civil rights issues. Max Rabb, an Eisenhower advisor, told her she should clear her questions with him in advance to get better answers. She agreed once, but never again. Subsequently, “Honest Ike” ignored Dunnigan at press conferences for years, despite her status as the first Black member of the Women’s National Press Club (1955).

When President John F. Kennedy took office in 1961, he called on Dunnigan eight minutes into his first press conference. She asked about protection for Black tenant farmers who had been evicted from their Tennessee homes simply for voting in the previous election. JFK replied, “I can state that this administration will pursue the problem of providing that protection, with all vigor.” Jet magazine then published this headline: “Kennedy In, Negro Reporter Gets First Answer in Two Years.”

New Career, New Achievements

Later in 1961, Dunnigan found a new calling. President Kennedy appointed her to his Committee on Equal Opportunity, designed to level the playing field for Americans seeking federal government jobs. As an educational consultant, Dunnigan toured the U.S. and gave speeches. In 1967, she switched over to the Council on Youth Opportunity, where she spent four years as an editor, writing articles in support of young Black people.

After retiring, she self-published her 1974 autobiography, A Black Woman’s Experience: From Schoolhouse to White House. Dunnigan died at age 77 in 1983, but her legacy lives on. In 2013, she was posthumously inducted into the National Association of Black Journalists Hall of Fame. CNN’s April Ryan, Lauretta Charlton of the New York Times, and others have hailed her as an inspiration.

In 2018, a 500-pound bronze statue of Dunnigan was unveiled at the Newseum in Washington, D.C. Today, it stands outside the Struggles for Equality and Emancipation in Kentucky (SEEK) Museum in her native Russellville—a silent but powerful tribute to a woman who was never short on words.