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Lie #3: This isn’t the real Dorothy. It’s Judy Garland’s body double.
误解3：这不是真正的多萝西，而是朱迪·加兰的替身。
She wore specially designed clothes and makeup to match the sepia world,
她的妆容和衣着都是为配合影片的怀旧色彩特意定制的。
so Judy Garland could swoop in, in the same shot and a blue dress, to join Technicolor Oz.
这样，朱迪·加兰才有机会在同一镜头穿着蓝色裙子走入特艺七彩的世界。
These movies, and Oz, were shaped around Technicolor’s abilities, from head to toe.
这类电影，包括《绿野仙踪》在内，从头到尾都是围绕特艺七彩的特点拍摄的。
“The second page that you see here is the part of the script that shows the ruby slippers being unveiled,
“《绿野仙踪》剧本第二页，红宝石鞋就已经出现了，
but what it shows is that they were still silver shoes at this point,
但此处写的是银鞋，
but the producers of the film really wanted to show off that Technicolor that they were paying for,
但电影制片人急于展示他们花大价钱购买的特艺七彩技术，
so they wanted them to be sparkly ruby slippers that would look good against the yellow brick road.
所以他们希望这双鞋是能够和黄砖路形成鲜明对比的闪闪发光的红宝石色鞋。
So they changed it at the middle of production to ruby slippers.”
所以他们就在拍摄中把鞋的颜色从银色换成了红宝石色。
Today, the shoes are kept under low light to preserve them,
为便于保存，这双鞋现在收藏在一个昏暗的柜子里，
but during the shoot they were blasted with light to accommodate the camera and make those sequins sparkle.
但拍摄期间，为了配合摄像机，同时让那些亮片闪闪发光，它们被打上了强光。
These weren’t just on-set decisions — Technicolor was always pulling strings behind the curtains.
这些并不是拍摄时的临时决定：特艺七彩一直都在支配电影的拍摄。
Look at the credits for Wizard of Oz, and The Trail of the Lonesome Pine, and A Star is Born, and so on and so on.
不妨来看看《绿野仙踪》、《孤松林径》、《一个明星的诞生》等电影的演职员表。
You’ll see one name over and over. Natalie Kalmus.
其中有一个反复出现的名字：娜塔莉·卡姆斯。
Once married to Technicolor cofounder Herb Kalmus,
与特艺的联合创始人赫伯特·卡姆斯结婚以后，
she ruled with an iron fist over Technicolor productions for many of the early years.
她就一直以铁腕手段控制着公司早期的电影出品。
Kalmus had over 300 film credits where she gave Technicolor advice, and sometimes told directors what to do.
她执导过的电影超过300部，有些是担任特艺七彩技术顾问，有些则是指导导演的工作。
This is the IMDB page for a woman born in 1882.
这是这位82年出生的女性在IMDB上的介绍页。
In documents like “Color Consciousness,” she extended her reach into art — the essay includes aesthetic color theory.
她还涉足了艺术领域，作品包括涉及美学色彩理论的“色彩意识”等文章。
“Red: danger, blood, life, heat. Green: Nature, outdoors, freedom, freshness.”
“红色代表危险、献血、生命、热情等；绿色代表自然、户外、自由和新鲜。”
Kalmus’s influence was significant, but it’s as important as a reflection of Technicolor’s power.
卡姆斯的影响不仅十分重大，她的影响力也充分代表了特艺公司对电影的影响。
Technicolor had its own processing facilities,
特艺公司不仅有自己的工艺设备，
and its own camera crew that continued Natalie Kalmus’ work after she left the company.
还有自己的拍摄团队，故而能够在娜塔莉·卡姆斯离开公司以后接手她的工作。
The technology and the production process gave Technicolor a significant competitive advantage to alternatives being used.
相比其他公司的产品，先进的技术和工艺过程使特艺拥有了强大的竞争优势。
Despite all those alternatives shown on Barbara Flueckiger’s website, studios stuck with Technicolor for a long time.
尽管那时也有芭芭拉· 弗路基格尔网站上列举的那些同类产品，很长一段时间，各大剧组都只会选用特艺的技术。
It had a reliable system and could be shown in any theatre in splendid color, without requiring special equipment.
因为特艺的系统较为可靠，而且不需配备特殊设备就能在任何一家影院展现绚丽的色彩。
Technicolor eventually fell to cheaper processes through the 1950s, like Eastman Color, that used a single strip.
不过，到了五十年代，特艺终于还是败给了只用一卷胶片的伊斯曼彩色胶片等更便宜的技术。
The Godfather, Part II was one of the final major releases to use the Technicolor we recognize.
《教父2》则是最后使用特艺七彩技术的大片。
But old prints remain surprisingly vibrant today due to the dye transfer process used.
然而，因为颜料转印方面的优势，传统的特艺冲洗在今天依然十分火爆。
Today, I can snap my fingers and be in The Matrix or in Stranger Things’ Upside Down.
现在，我只要动动手指就能做出《黑客帝国》或是《怪奇物语》里颠倒世界那种色调。
Ok. What are all these dust particles? Is this asbestos?
好吧，这些尘埃是怎么回事？是石棉吗？
Am I covered in asbestos right now?
我是被包在石棉里了吗？
Technicolor was never just a click:
特艺则不是动动手指那么简单的事：
the look was formed by the camera’s strengths and weaknesses,
特艺电影的画面既体现了特艺摄影机的优势和不足，
the artistic choices made for color, and the Technicolor company’s infrastructure and supervision.
也体现了特艺对颜色的艺术选择，乃至特艺公司的硬件设施和人为的把控。
In that key scene from the Wizard of Oz,
在《绿野仙踪》这个十分关键的镜头里，
you might not have known the trivia about Dorothy’s double,
你可能没有注意到多萝西用了替身、
or the sepia doorway, or even that it wasn’t Technicolor’s debut.
或者那扇怀旧色调的门，甚至连这部电影并非首部运用特艺七彩的电影都不知道。
But one thing is easy to understand, intuitively. The movie is all about it.
但有一点不难明白，这一点也是这部电影最重要的地方。
Technicolor wasn’t a switch or a doorway.
那就是，特艺七彩并不是一个开关，也不是一个窗口。
It was a whole world, just waiting on the other side.
而是一个完整的世界，就在门外等着你的到来。
You can nerd out a lot more on Technicolor by checking out Barbara Flueckiger’s website,
想了解更多关于特艺七彩的内容，大家可以访问芭芭拉·弗路基格尔的网站，
or Eastman House, which was really generous with their time and a lot of the images that you saw in this video.
也可以访问伊斯曼博物馆的网站，该网站非常慷慨地给我提供了很多时间和图片。
I’ve linked both of those below.
它们的链接我已经放在视频下方了。
You can see the director’s commentary for this video in an additional video
大家还可以看本期视频的一个花絮，是《绿野仙踪》的导演对本期视频发表的一些看法，
that we’ve made where I share some behind-the-scenes info and a few of the details that couldn’t quite fit in.
我在里面也分享了一些电影的拍摄花絮以及一些小穿帮。
