![]() It was the first film to really harness the digital color grading process, even before the term "digital color grading" existed. Oh Brother Where Art Thou is a modern update on this concept. The term `timer' comes from the days before automated printers when the `timer' had to determine how long certain portions of be allowed to sit in the developer. Once the final print and color options are locked, the film is printed directly off via laser and the traditional color-timing stage is finished. Each scene is timed, and the printer's points for each scene are encoded onto a punched paper tape. These `points' range from 0 to 50, with about 25 being `normal,' with higher numbers making the image darker, and lower numbers making the image lighter. ![]() The color timer uses a machine known as a `Hazeltine' which reverses images on the original negatives and displays them on a television-like screen, and then turns dials to assign the image `printers points' for each of the three primary colors (red, green, blue). It has a great effect on filmed images, as it controls the `look' of the film, with respect to exposure and color balance, as well as scene-to-scene continuity. Color timing is used to manipulate the color and give the scene a consistent look between shots. Color timing was used extensively with films before the digital age and performed in a laboratory. Color timing is the colorization of film as it is being developed, involving the photo-chemical process in creating colorized prints.
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