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This is the precise moment a news broadcast transitioned from black-and-white to full color television on April 14, 1967.

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Historic Vids

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The exact moment a news station switches from black and white to color TV for the first time, April 14, 1967.
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The exact moment a news station switches from black and white to color TV for the first time, April 14, 1967.

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Black-&-white CBS broadcast footage of the waning moments of the 1965 NFL Week 2 #Giants-#Eagles contest from Franklin Field in Philadelphia — Frank Gifford's second game as a full-time NFL television color analyst, here alongside fellow legend Jack Whitaker September 26, 1965
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Black-&-white CBS broadcast footage of the waning moments of the 1965 NFL Week 2 #Giants-#Eagles contest from Franklin Field in Philadelphia — Frank Gifford's second game as a full-time NFL television color analyst, here alongside fellow legend Jack Whitaker September 26, 1965

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Frank and Ella Fitzgerald were the perfect musical match. We take you back to April 21, 1967, for their duet of “The Lady Is a Tramp” from the television special ‘A Man and His Music + Ella + Jobim,’ deservedly landing at #2 on the #SinatraDuets countdown.
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Frank and Ella Fitzgerald were the perfect musical match. We take you back to April 21, 1967, for their duet of “The Lady Is a Tramp” from the television special ‘A Man and His Music + Ella + Jobim,’ deservedly landing at #2 on the #SinatraDuets countdown.

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This is CNN's report on the plans and progress of the White House Ballroom construction This is from the beginning of April Are they capable of just reporting news without spin, ever?
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Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)
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Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

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Field research: Stare at this Black and White image at the center dot. It will shift to a false color image. The video will loop back to the Black and White image. Is the Black and White photograph now colored? What are your observations? The phenomena will dissipate.

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