| The Bluebird of Happiness (1918), dir. Maurice Tourneur | ||
| You tinted by dyeing the film base itself. Abel Gance did that to evoke mood in J'Accuse (1919). | ||
| You toned by chemically converting the silver oxide emulsion that coats the base to another metallic oxide—iron for blue, copper for red or brown, vanadium to green, sulphide to sepia. | ||
| You both tinted and toned to maximize the range of colors. | ||
| Done right, as in The Bluebird of Happiness (above) or below in Hell's Angels (1930), the coloring could levitate a scene into a dream. | ||
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Film archivist Brian Pritichard explains toning, tinting, and stencilling here. |
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