![]() In it, he goes into a fair amount of detail on the “Purkinje Effect,” which is an explanation for why our eyes see color and value differently by moonlight. Some time later, I saw a wonderful post by James Gurney on the color of moonlight in paintings and in life. The restoration team brought back the originally intended “day-for-night” look. For whatever reason, prior home video releases had this scene play with standard daytime processing. This footage was meant to go though an alternate chemical process which would underexpose the image and cool the color temperature to give the feel of night. One scene that they discussed was a shot early in the movie which is intended to take place at night, but was filmed in the daytime for budget, safety, and technical reasons. Before the movie, the tape ran a short feature on the restoration process. Though this technique goes back to the very beginning of cinema, I learned about it from a special edition VHS of The Guns of Navarone. ![]() ![]() It was a movie making trick called “day for night.” ![]() ![]() But there was something I’d never tried and had always been curious about. While the author was very happy with the painting as it was, the publisher wondered if there was anything I could do? Short of redoing the entire piece, I could not imagine this was fixable in paint. ![]()
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