1929 in film). The height of the silent era (from the early 1910s in film to the late 1920s) was a particularly fruitful period, full of artistic innovation. The film movements of Classical Hollywood as well as French Impressionism, German Expressionism, and Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that virtually every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era. The silent era was also a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot, panning, and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s. Some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors, actors, and production staff adapted fully to the new "talkies" around the mid-1930s. The visual quality of silent movies—especially those produced in the 1920s—was often high, but there remains a widely held misconception that these films were primitive, or are barely watchable by modern standards. This misconception comes from the general public's unfamiliarity with the medium, as well as from carelessness on the part of the industry. Most silent films are poorly preserved, leading to their deterioration, and well-preserved films are often played back at the wrong speed or suffer from censorship cuts and missing frames and scenes, giving the appearance of poor editing. Many silent films exist only in second- or third-generation copies, often made from already damaged and neglected film stock. Another widely held misconception is that silent films lacked color. In fact, color was far more prevalent in silent films than in the first few decades of sound films. By the early 1920s, 80 percent of movies could be seen in some sort of color, usually in the form of film tinting or toning or even hand coloring, but also with fairly natural two-color processes such as Kinemacolor and Technicolor. Traditional colorization processes ceased with the adoption of sound-on-film technology. Traditional film colorization, all of which involved the use of dyes in some form, interfered with the high resolution required for built-in recorded sound, and were therefore abandoned. The innovative three-strip technicolor process introduced in the mid-30s was costly and fraught with limitations, and color would not have the same prevalence in film as it did