How did the idea of colorising Hum Dono originate?
Technically, the technology we have used is unique and the best presently available. Till date whatever technology was used worldover, only 8-bit files were used which are limited to only 16 colours per frame. When one scans a black and white movie into an 8-bit file, there are only 16 scales of grey shade in an image. So one is restricted to use only 16 colours or may be, a maximum 32 colours with extraordinary arrangements. For the first time in the world we have scanned images as a 16-bit data that was approximately equal to 48-bit grey shade file which consists of approximately 65,000 greyshades. Thus we could virtually align 65,000 shades of colours in one single frame. After having seen the film, you won’t believe that the film was in black-and-white initially. You’ll feel it was originally made in colour.
Tell us about the technology you’ll used for colourisation of Hum Dono.
Our technology popularly known as Goldstone-Legend technology restores and colorises old classics giving them a new charm. It so happened that I have a long association with Legend Films, USA. I got in touch with them, talked to them about the technology and finally brought the technology to Indian shores. Earlier, we have been providing service to U.S. companies. Moreover, this technology is new and the best one around and whatever is best is costlier. So we never focussed on Indian films because here budget is always a major concern. Finally, we decided to enter the scene as Navketan was insisting that we work on an Indian film.
Did the color version of Mughal-e-Azam inspire you to colour Hum Dono?
Not really. When I saw the end result of Mughal-e-Azam, I was of the view that classics shouldn’t be colourised at all. But once we acquired the technology, my thoughts vanished. In Hum Dono, for the first time, audience will get to view a real colourisation film and not a painted one.
Tell us about the time taken to complete colourisation of Hum Dono.
It took almost four years for colourisation of Mughal-e-Azam and for Naya Daur it took between three to three and half years, but our new patented software enabled us to complete our work in just four months. One more factor added to our finishing the work early - we had a workforce of two hundred people. And now I am confident that if we double our staff, we can finish a film in just two months.The new software cuts down the time of colourisation. The quality of Hum Dono is par excellence. In the coloured Mughal-e-Azam only a few colours were used for the background. However, we used millions of colours to give a new experience to the moviegoer.
What were the technical challenges faced while doing this film?
There are three issues of concern. Firstly, we are showing 65,000 shades of colour in a single frame of the movie. Secondly, in India, there is no screen where we can show 35mm photo. Every screen has become wide screen. Hence, this movie had to be converted into cinemascope to be screened. We have converted the film into cinemascope using an in-house built technology of a company based outside India. Thirdly, we are converting the sound into Dolby 6.1. In short, the sound is converted to 7-channel, the film is converted to cinemascope and it is being colourised. You would be surprised to see the film on a wide screen. Every minute detail, as far as sound is concerned, has been taken care of. From footsteps, to the rubbing of the clothes, to the music of the cigarette lighter, the audience will get a real feeling.
The film also gives a 3D feel
Yes, let me explain. Let’s take a scene featuring Dev Anand and Sadhana in conversation on outdoor locations. We initially coloured the two artistes without touching the background. Later we did only the background. This gives a depth and a 3D kind of feel, seeing which people will be enthralled.
What was the budget of the colourisation?
As this is a joint venture between Navketan Films and us, budget is not really our issue of worry. We have come to a consensus with Navketan about the budget. We are releasing the movie on a revenue-sharing basis.
Will attempts like re-releasing old classics give the new age audience a feel of the golden era?
Yes, absolutely and that is what our aim is. We aim to reintroduce one of the greatest classics to the new generation who just refuse to watch anything that is black and white. That the classic is in colour will encourage them to watch the film.
Any other films that are in the process of being coloured?
Yes, we have already signed six Telegu films and three Tamil films. We have already finished work on ten minutes of a Kannada film. In India not many films have been colorised. We aim to finish at least twelve movies in the coming three years, which nobody has ever accomplished.
Are there any Hindi films in the pipeline?
Yes, there are. But I don’t want to divulge any details as now we want to concentrate only on Hum Dono or else we will get people’s attention diverted and divided.
What are Goldstone’s recent projects?
Besides restoration and colourisation of Hum Dono, our recent projects include restoration and colourisation of Dr. Raj Kumar’s Kannada classic Satya Harish Chandra, the restoration of Dev Anand’s Guide and restoration and colourisation of N.T. Rama Rao’s and A. Nageshwar Rao’s Telegu classic Maya Bazar.
