[junyab]

Originally Posted by Mike T. at avmaniacs www .avmaniacs. com/forums/showthread.php?t=47492&p=872559&viewfull=1#post872 559

Another triumph was the stylised opening lynch-mob sequence set in 1927, a combination of Lentini’s masterful period costumes and sets, Di Rossi’s painfully realistic makeup special effects, and Salvati’s striking cinematography. “Initially the prologue was to have been shot in black and white to simplify the whole operation,” recalls Salvati. “But then I opted for the soft yellow, almost golden filter which blended in with the torches and flashes of light and was reflected in the clothes worn by the inquisitors and the burnt lime on Schweik’s face. What I was trying to recreate was the effect of an old, yellowed photograph, something outside of time, putting a gap between the present day story and the prologue as if they were two separate films, divided by an infinite arc of time, a long bridge, like the one that Liza takes to meet Emily. I discarded the usual sepia – the colour of memories – since there are no relationships between the characters based on memory. Instead, THE BEYOND is a horror that lies outside time and space”.

So what he had done wasn't actually "sepia" like we are calling it, but it is definitely supposed to be the "yellowish" color that is on all the recent releases.