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Capstaff, a former portrait photographer and physics and engineering student had already worked on colour photography before he joined C.K. Mees and other former
Wratten and Wainright employees in their move to Rochester in 1912–1913 after Eastman had bought that company to persuade Mees to come and
607:
delivered a report to l'Académie des sciences describing how to project three-dimensional magic lantern slide shows using red and green filters to an audience wearing red and green goggles. Subsequently he was chronicled as being responsible for the first realisation of 3D images using anaglyphs.
490:
RG color model uses red and green filters for film exposure, but complementary cyan-green (for red) and orange-red (for green) for the developed prints. This allows the generation of white, although the color model cannot achieve black, regardless of the primaries chosen. It was used in several
658:
3D image taken by ESA's Mars
Express orbiter. The location is on the Martian equator north of Valles Marineris between 1° South to 2.5° North and 323° East. The area is 50 km across and shows mesas and cliffs as well as flow features indicating erosion by the action of flowing water. In this
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adds a black channel, which allows for the reproduction of black and other dark shades. However, it does not allow the reproduction of neutral colors (gray/white) because the primaries are not complementary.
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technology. However, this preference no longer applies to modern devices. In modern applications, the red and green primaries are equal to the primaries used in typical
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RG color model uses red and green primaries. It was used in several processes during the early innovations of color photography, including
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complementary colors, an equal mixture of these primaries will yield yellow, and a neutral color cannot be reproduced by the color space.
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130:(e.g. red and cyan), then an equal mixture of the primaries will yield a neutral color (gray or white). However, since red and green are
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Constellation of
Scorpius in 3D anaglyph for red-green glasses. The perception of depth depends on how the image is scaled.
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The subtractive RGK color model showing the primary colors, but where the mixture is obfuscated by the black channel.
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The additive RG color model showing the primary colors. Overlap area is an equal mixture thereof (yellow), not white.
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The name of the model comes from the initials of the two primary colors: red and green. The model may be either
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landscape view North is on the right. The 3D effect is only seen with the use of red/green 3D glasses.
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The subtractive RG color model showing the primary colors. Overlap area is dark brown, not true black.
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filmmakeriq.com, The
History and Science of Color Film: From Isaac Newton to the Coen Brothers
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displays in which red and green LEDs were more common and cheaper than the still nascent
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414:. In this case, the RG color model can be achieved by disabling the blue light source.
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The primaries are added together in varying proportions to reproduce a linear gamut of
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1124:(Public Lecture) (in French). Institut de France. Académie des Sciences. p. 3.
1114:"La Vie et L'œuvre de Gabriel Lippmann (membre de la section de physique générale)"
586:
411:
1075:
868:
The Way of All Flesh Tones: A History of Color Motion
Picture Processes, 1895-1929
585:, RG and RGK are no longer in use because devices providing larger gamuts such as
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processes during the early innovations of color photography, including on
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changes depending on the primary colors chosen. When the primaries are
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1017:"The first Technicolor film was a total disaster a century ago"
807:"The first Technicolor film was a total disaster a century ago"
764:"The first Technicolor film was a total disaster a century ago"
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72:, these models were used in early color processes for films.
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978:"2012 National Film Registry Picks in A League of Their Own"
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Outside of a few low-cost high-volume applications, such as
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Kalmus, Herbert. "Technicolor
Adventures in Cinemaland",
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For the vision capacities of organisms or machines, see
783:. U.S. Patent No. 1,391,029, filed February 20, 1917.
1061:Journal of the Society of Motion Picture Engineers
1146:. U.S. Patent No. 1,391,029, filed Feb. 20, 1917.
1722:
1116:[The Life and Work of Gabriel Lippmann]
402:Until recently, its primary use was in low-cost
718:. Bonnier Corporation – via Google Books.
1187:
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1076:"Application filed by Germann & Gsell Ag"
1144:Cinematographic Multiplex Projection, &c
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781:Cinematographic Multiplex Projection, &c
713:
1194:
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714:Corporation, Bonnier (February 13, 1923).
953:"Complete National Film Registry Listing"
865:Nowotny, Robert Allen (January 1, 1983).
674:List of monochrome and RGB color formats
564:
102:
864:
14:
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1111:
900:"Patent 1,145,968 - Photographic Film"
728:
529:Subtractive RG (modern example image).
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1093:[A New Stereoscopic Device]
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1112:Picard, Emile (December 14, 1931).
858:
679:List of motion picture film formats
440:Additive RG (modern example image).
107:Gamut of an additive RG color model
24:
1101:(Lecture) (in French). p. 61.
1089:D'Almeida, Joseph Charles (1858).
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560:
25:
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481:
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1157:The First Successful Color Movie
1139:Even Proportional Color Triangle
1091:"Nouvel appareil stéréoscopique"
1042:The First Successful Color Movie
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1153:, February 22, 1917, p. 9.
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474:Red and green LED traffic sign.
53:color space, such as for human
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731:"First Successful Color Movie"
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573:A similar color model, called
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68:. Despite its shortcomings in
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1:
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1149:"Moving Pictures in Color",
846:Cherchi Usai, Paolo (2000).
792:"Moving Pictures in Color",
7:
907:United States Patent Office
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10:
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1617:Colour Index International
796:, February 22, 1917, p. 9.
684:List of color film systems
634:Red/Green anaglyph picture
622:Red-green anaglyph glasses
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694:Anaglyphic color channels
27:Red and green color space
1163:, Feb. 1923, p. 59.
589:are in widespread use.
583:packaging and labelling
852:British Film Institute
729:Thomas, Elway (1923).
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122:The appearance of the
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1634:Federal Standard 595
1214:List of color spaces
1122:academie-sciences.fr
871:. pp. 127–129.
603:In 1858, in France,
128:complementary colors
1048:, Feb. 1923, p. 59.
1015:Trenholm, Richard.
982:Library of Congress
957:Library of Congress
813:. September 9, 2017
762:Trenholm, Richard.
550:The Toll of the Sea
1151:The New York Times
794:The New York Times
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70:color reproduction
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716:"Popular Science"
499:, Prizma II, and
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34:is a dichromatic
16:(Redirected from
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767:
757:
743:
734:
724:
709:
602:
580:
574:
572:
548:
542:
497:Kodachrome I
485:
459:
453:
452:Additive RG
401:
131:
121:
117:trichromatic
110:
79:
59:
55:color vision
51:trichromatic
31:
29:
1731:Color space
1689: [
1644:ICC profile
1203:Color space
1026:October 14,
1002:"Prizma II"
599:Anaglyph 3D
593:Anaglyph 3D
547:frame from
501:Technicolor
488:subtractive
458:frame from
455:Kinemacolor
124:color gamut
94:Technicolor
86:Kinemacolor
76:Additive RG
66:subtractive
36:color model
1534:Hexachrome
1343:Wide-gamut
1285:UVW (1964)
1280:YUV (1960)
1275:RGB (1931)
1270:XYZ (1931)
987:2020-05-13
962:January 2,
929:"Brewster"
701:References
460:Two Clowns
1686:JIS Z8102
1469:Rec. 2100
1457:Rec. 2100
1452:Rec. 2020
1383:Rec. 2100
1378:Rec. 2020
462:(c.1907).
1725:Category
1649:ISCC–NBS
1539:HSL, HSV
1524:Coloroid
1519:ColorADD
1447:Rec. 709
1442:Rec. 601
1373:Rec. 709
1363:Rec. 601
1348:ProPhoto
1305:CIECAM16
1300:CIECAM02
1252:CIECAM16
1237:CIECAM02
833:"Raycol"
817:June 27,
667:See also
408:blue LED
396:#FFFF00
393:#CCFF00
390:#C0FF00
387:#99FF00
384:#80FF00
381:#66FF00
378:#40FF00
375:#33FF00
372:#00FF00
367:#FFCC00
364:#CCCC00
361:#C0CC00
358:#99CC00
355:#80CC00
352:#66CC00
349:#40CC00
346:#33CC00
343:#00CC00
338:#FFC000
335:#CCC000
332:#C0C000
329:#99C000
326:#80C000
323:#66C000
320:#40C000
317:#33C000
314:#00C000
309:#FF9900
306:#CC9900
303:#C09900
300:#999900
297:#809900
294:#669900
291:#409900
288:#339900
285:#009900
280:#FF8000
277:#CC8000
274:#C08000
271:#998000
268:#808000
265:#668000
262:#408000
259:#338000
256:#008000
251:#FF6600
248:#CC6600
245:#C06600
242:#996600
239:#806600
236:#666600
233:#406600
230:#336600
227:#006600
222:#FF4000
219:#CC4000
216:#C04000
213:#994000
210:#804000
207:#664000
204:#404000
201:#334000
198:#004000
193:#FF3300
190:#CC3300
187:#C03300
184:#993300
181:#803300
178:#663300
175:#403300
172:#333300
169:#003300
164:#FF0000
161:#CC0000
158:#C00000
155:#990000
152:#800000
149:#660000
146:#400000
143:#330000
140:#000000
82:additive
62:additive
1669:Pantone
1664:Ostwald
1654:Munsell
1559:OSA-UCS
1099:Gallica
1095:(image)
913:May 29,
884:May 29,
96:I, and
1709:
1509:CcMmYK
1358:DCI-P3
875:
552:(1922)
113:colors
98:Raycol
90:Prizma
1693:]
1554:Oklab
1502:Other
1493:YCoCg
1488:xvYCC
1476:YPbPr
1464:ICtCp
1437:YCbCr
1418:SECAM
1413:YDbDr
1353:scRGB
1338:Adobe
1247:CAM16
1118:(PDF)
903:(PDF)
44:green
1679:list
1612:ANPA
1607:ACES
1564:PCCS
1514:CMYK
1430:NTSC
1393:Y′UV
1328:sRGB
1242:iCAM
1028:2019
1021:CNET
964:2017
915:2015
886:2015
873:ISBN
819:2018
811:CNET
768:CNET
587:CMYK
503:II.
486:The
80:The
42:and
1674:RAL
1659:NCS
1639:HKS
1629:DIC
1589:TSL
1584:YJK
1579:HWB
1574:RYB
1544:HCL
1529:LMS
1481:MAC
1425:YIQ
1406:PAL
1401:YUV
1315:RGB
1262:CIE
1229:CAM
1159:",
1044:",
575:RGK
495:I,
404:LED
132:not
64:or
57:.
40:red
30:An
1727::
1691:ja
1569:RG
1120:.
1097:.
1019:.
980:.
955:.
905:.
850:.
809:.
766:.
733:.
100:.
92:,
88:,
1713:.
1195:e
1188:t
1181:v
1078:.
1065:"
1057:"
1040:"
1030:.
1004:.
990:.
966:.
931:.
917:.
888:.
835:.
821:.
770:.
751:.
20:)
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