44:
1517:. All of them were an improvement over the three-strip negatives, since the negative print-downs generated sharper and finer grain dye transfer copies. By the mid-1960s, the dye-transfer process eventually fell out of favor in the United States as being too expensive and too slow in turning out prints. With the growing number of screens in the US, the standard run of 200–250 prints increased. And while dye-transfer printing yielded superior color printing, the number of high speed prints that could be struck in labs all over the country outweighed the fewer, slower number of prints that could only be had in Technicolor's labs. One of the last American films printed by Technicolor was
1370:
357:
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1048:. This variation of the three-strip process was designed primarily for cartoon work: the camera would contain one strip of black-and-white negative film, and each animation cel would be photographed three times, on three sequential frames, behind alternating red, green, and blue filters (the so-called "Technicolor Color Wheel", then an option of the Acme, Producers Service and Photo-Sonics animation cameras). Three separate dye transfer printing matrices would be created from the red, green, and blue records in their respective complementary colors, cyan, magenta and yellow.
1313:
474:
1423:, released in December 1951. In 1952, Eastman Kodak introduced a high-quality color print film, allowing studios to produce prints through standard photographic processes as opposed to having to send them to Technicolor for the expensive dye imbibition process. That same year, the Technicolor lab adapted its dye transfer process (internally known as 'tri-robo' – Italian for three-strip) to derive triple matrices and imbibition prints directly from Eastmancolor negatives, as well as other stocks such as Ansco and DuPont color stocks.
1660:, Technicolor prints are considered of archival quality. A Technicolor print from the dye transfer era will retain its original colors virtually unchanged for decades with proper storage, whereas prints printed on Eastmancolor stocks produced prior to 1983 may suffer color fading after exposure to ultraviolet light and hot, humid conditions as a result of less stable photochemical dyes. Fading on some prints is so rapid that in some cases, after as little as five to ten years, the colors of the print have faded to a brownish red.
294:
847:
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1257:“I am not sure how much the picture’s lack of effect is the result of its technicolor. I myself find it difficult to take seriously a movie made in technicolor: profundity seems out of key with the carnival spirit of the color, which is always gay and bright, mask-like, without substance. Nor am I sure how much of the film’s stiffness and unmaneuverability is the product of technicolor.”—
1845:
501:
gelatin of the matrix film's emulsion was left proportionally hardened, being hardest and least soluble where it had been most strongly exposed to light. The unhardened fraction was then washed away. The result was two strips of relief images consisting of hardened gelatin, thickest in the areas corresponding to the clearest, least-exposed areas of the negative.
1103:
stock was controlled by a clique loyal to Kalmus, Technicolor never had to cede any control to its bankers or unfriendly stockholders. In the mid-'30s, all the major studios except MGM were in the financial doldrums, and a color process that truly reproduced the visual spectrum was seen as a possible shot-in-the-arm for the ailing industry.
2248:"Two key advantages to SE as opposed to three-strip photography is that the optical path is far simpler resulting in a single focal plane for each frame, and the alignment of frames from a single strip of film as opposed to three separate records is far easier. This is clearly evident when we are working with our nitrate negatives."
252:(and other single-strip color film stocks) supplanted the three-film-strip camera negative method, while the Technicolor IB printing process continued to be used as one method of making the prints. This connotation applies to nearly all films made from 1954 onward in which Technicolor is named in the credits (1953–present).
890:, and three separate rolls of black-and-white film (hence the "three-strip" designation). The beam splitter allowed one-third of the light coming through the camera lens to pass through the reflector and a green filter and form an image on one of the strips, which therefore recorded only the green-dominated third of the
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in 2000. Since 2001, Technicolor has been part of the French-headquartered electronics and media conglomerate
Thomson Multimedia SA. The name of Thomson group was changed to "Technicolor SA" as of February 1, 2010, re-branding the entire company after its American film technology subsidiary.
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preservation elements (fine-grain positives) been
Successive Exposure, but this would have required the preservation elements to be 3,000 feet or 6,000 feet whereas three-strip composited camera and preservation elements are 1,000 feet or 2,000 feet (however, three records of that length are needed).
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Each of the three resulting negatives was printed onto a special matrix film. After processing, each matrix was a nearly invisible representation of the series of film frames as gelatin reliefs, thickest (and most absorbent) where each image was darkest and thinnest where it was lightest. Each matrix
842:
Technicolor could now promise studios a full range of colors, as opposed to the limited red–green spectrum of previous films. The new camera simultaneously exposed three strips of black-and-white film, each of which recorded a different color of the spectrum. The new process would last until the last
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Convinced that there was no future in additive color processes, Comstock, Wescott, and Kalmus focused their attention on subtractive color processes. This culminated in what would eventually be known as
Process 2 (1922) (often referred to today by the misnomer "two-strip Technicolor"). As before, the
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In the lab, skip-frame printing was used to sort the alternating color-record frames on the camera negative into two series of contiguous frames, the red-filtered frames being printed onto one strip of specially prepared "matrix" film and the green-filtered frames onto another. After processing, the
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behind the camera lens exposed two consecutive frames of a single strip of black-and-white negative film simultaneously, one behind a red filter, the other behind a green filter. Because two frames were being exposed at the same time, the film had to be photographed and projected at twice the normal
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of the projection optics. Much more serious was a problem with cupping. Films in general tended to become somewhat cupped after repeated use: every time a film was projected, each frame in turn was heated by the intense light in the projection gate, causing it to bulge slightly; after it had passed
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Very few of the original camera negatives of movies made in
Technicolor Process 2 or 3 survive. In the late 1940s, most were discarded from storage at Technicolor in a space-clearing move, after the studios declined to reclaim the materials. Original Technicolor prints that survived into the 1950s
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The presence of image layers on both surfaces made the prints especially vulnerable to scratching, and because the scratches were vividly colored they were very noticeable. Splicing a
Process 2 print without special attention to its unusual laminated construction was apt to result in a weak splice
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It was found that the cemented prints were not only very prone to cupping, but that the direction of cupping would suddenly and randomly change from back to front or vice versa, so that even the most attentive projectionist could not prevent the image from temporarily popping out of focus whenever
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to that of the filter: orange-red for the green-filtered images, cyan-green for the red-filtered ones. Unlike tinting, which adds a uniform veil of color to the entire image, toning chemically replaces the black-and-white silver image with transparent coloring matter, so that the highlights remain
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magazine stressed that
Technicolor, as a corporation, was rather remarkable in that it kept its investors quite happy despite the fact that it had only been in profit twice in all of the years of its existence, during the early boom at the turn of the decade. A well-managed company, half of whose
722:(1931). The new process not only improved the color but also removed specks (that looked like bugs) from the screen, which had previously blurred outlines and lowered visibility. This new improvement along with a reduction in cost (from 8.85 cents to 7 cents per foot) led to a new color revival.
77:
Definitive
Technicolor movies using three black-and-white films running through a special camera (3-strip Technicolor or Process 4) started in the early 1930s and continued through to the mid-1950s, when the 3-strip camera was replaced by a standard camera loaded with single-strip "monopack"
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cause the color balance of the image to change as the image is faded. Transfer to digital media has attempted to correct the differing color balances and is largely successful. However, a few odd artifacts remain such that saturated parts of the image may show a false color. Where the image of a
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Furthermore, three-strip camera negatives are all on silver-based black-and-white stock, which have stayed unaltered over the course of time with proper handling. This has become of importance in recent years with the large market for films transferred to video formats for home viewing. The best
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It is also a record with the correct "wind" (emulsion position with respect to the camera's lens). Shrinkage and re-alignment (resizing) are non-issues with
Successive Exposure (single-roll RGB) Technicolor camera negatives. This issue could have been eliminated, for three-strip titles, had the
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One major drawback of
Technicolor's three-strip process was that the cameras required a special, bulky, large volume sound blimp. Film studios could not purchase Technicolor cameras, only rent them for their productions, complete with camera technicians and a "color supervisor" to ensure sets,
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solution and then brought into contact with each of the three dye-loaded matrix films in turn, building up the complete color image. Each dye was absorbed, or imbibed, by the gelatin coating on the receiving strip rather than simply deposited onto its surface, hence the term "dye imbibition".
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to those of the camera filters: the strip made from red-filtered frames was dyed cyan-green and the strip made from green-filtered frames was dyed orange-red. The thicker the gelatin in each area of a frame, the more dye it absorbed. Subtle scene-to-scene colour control was managed by partial
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One problem that has resulted from
Technicolor negatives is the rate of shrinkage from one strip to another. Because three-strip negatives are shot on three rolls, they are subject to different rates of shrinkage depending on storage conditions. Today, digital technology allows for a precise
272:
In 1912, Kalmus, Comstock, and mechanic W. Burton Wescott formed Kalmus, Comstock, and Wescott, an industrial research and development firm. Most of the early patents were taken out by Comstock and Wescott, while Kalmus served primarily as the company's president and chief executive officer.
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Kalmus preferred the title "Technicolor Director", although British licensees generally insisted on "Colour Control" so as not to "dilute" the film director's title. She worked with quite a number of "associates", many of whom went uncredited, and after her retirement, these associates were
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During the early years of the process, the receiver film was preprinted with a 50% black-and-white image derived from the green strip, the so-called Key, or K, record. This procedure was used largely to cover up fine edges in the picture where colors would mix unrealistically (also known as
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Technicolor envisioned a full-color process as early as 1924, and was actively developing such a process by 1929. Hollywood made so much use of Technicolor in 1929 and 1930 that many believed the feature film industry would soon be turning out color films exclusively. By 1931, however, the
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footage was first duplicated onto a 35mm fine-grain SE negative element in one pass of the 16mm element, thereby reducing wear of the 16mm original, and also eliminating registration errors between colors. The live-action SE negative thereafter entered other Technicolor processes and were
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When the firm was hired to analyze an inventor's flicker-free motion picture system, they became intrigued with the art and science of filmmaking, particularly color motion picture processes, leading to the founding of Technicolor in Boston in 1914 and incorporation in Maine in 1915.
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frequently exceeded 100 °F (38 °C), and some of the more heavily costumed characters required a large water intake. Some actors and actresses claimed to have suffered permanent eye damage from the high levels of carbon arc illumination with its highly actinic ultraviolet.
950:). This additional black increased the contrast of the final print and concealed any fringing. However, overall colorfulness was compromised as a result. In 1944, Technicolor had improved the process to make up for these shortcomings and the K record was eliminated.
336:, which had a limited tour of Eastern cities, beginning with Boston and New York on September 13, 1917, primarily to interest motion picture producers and exhibitors in color. The near-constant need for a technician to adjust the projection alignment doomed this
974:(1932), in Process 4, the new "three-strip" process. Seeing the potential in full-color Technicolor, Disney negotiated an exclusive contract for the use of the process in animated films that extended to September 1935. Other animation producers, such as the
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process, the projected image was not dimmed by a light-absorbing and obtrusive mosaic color filter layer. Very importantly, compared to competing subtractive systems, Technicolor offered the best balance between high image quality and speed of printing.
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Although successful commercially, Process 2 was plagued with technical problems. Because the images on the two sides of the print were not in the same plane, both could not be perfectly in focus at the same time. The significance of this depended on the
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The other two-thirds was reflected sideways by the mirror and passed through a magenta filter, which absorbed green light and allowed only the red and blue thirds of the spectrum to pass. Behind this filter were the other two strips of film, their
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promised two color features, these never materialized. This may have been the result of the lukewarm reception to these new color pictures by the public. Two independently produced features were also made with this improved Technicolor process:
1177:, the short was a success in introducing the new Technicolor as a viable medium for live-action films. The three-strip process also was used in some short sequences filmed for several movies made during 1934, including the final sequences of
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color quality control for video transfer by far is achieved by optically printing from Technicolor negatives, or by recombining the three-strip black and white negatives through digital means and printing, onto low-contrast stock. Director
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A lab was established in Italy to circumvent taxes on foreign film imports. In 1975, the US dye transfer plant was closed and Technicolor became an Eastman-only processor. In 1977, the final dye-transfer printer left in Rome was used by
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had taken its toll on the film industry, which began to cut back on expenses. The production of color films had decreased dramatically by 1932, when Burton Wescott and Joseph A. Ball completed work on a new three-color movie camera.
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The frames exposed behind the green filter were printed on one strip of black-and-white film, and the frames exposed behind the red filter were printed on another strip. After development, each print was toned to a color nearly
237:
color printing. Originally used for printing from color-separation negatives photographed on black-and-white film in a special Technicolor camera (1928–2002, with differing gaps of availability after 1974, depending on the
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The studios were willing to adopt three-color Technicolor for live-action feature production, if it could be proved viable. Shooting three-strip Technicolor required very bright lighting, as the film had an extremely slow
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The British line was shut down in 1978 and sold to Beijing Film and Video Lab which shipped the equipment to China. A great many films from China and Hong Kong were made in the Technicolor dye transfer process, including
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re-alignment of the negatives by resizing shrunken negatives digitally to correspond with the other negatives. The G, or Green, record is usually taken as the reference as it is the record with the highest resolution.
1573:
In 1997, Technicolor reintroduced the dye transfer process to general film printing. A refined version of the printing process of the 1960s and 1970s, it was used on a limited basis in the restorations of films such as
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of the stocks used was fairly slow, early Technicolor productions required a greater amount of lighting than a black-and-white production. It is reported that temperatures from the hot studio lights on the film set of
461:
the cupping direction changed. Technicolor had to supply new prints so the cupped ones could be shipped to their Boston laboratory for flattening, after which they could be put back into service, at least for a while.
2157:
Radio Pictures announced plans to make four color features under the titles of "The Runaround" (produced), "Babes in Toyland" (never produced), "Macheta" (never produced) and "Bird of Paradise" (changed to black and
545:(1929), a part-talkie, were photographed almost entirely in this process also but included some sequences in black and white. The following talkies were made entirely – or almost entirely – in Technicolor Process 3:
209:
worldwide, owned and run by Technicolor for post-production services including developing, printing, and transferring films in all major color film processes, as well as Technicolor's proprietary ones (1922–present).
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that would fail as it passed through the projector. Even before these problems became apparent, Technicolor regarded this cemented print approach as a stopgap and was already at work developing an improved process.
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In addition, many feature films were released with Technicolor sequences. Numerous short subjects were also photographed in Technicolor Process 3, including the first color sound cartoons by producers such as
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Helmenstine, Anne Marie; sciences, Ph D. Dr Helmenstine holds a Ph D. in biomedical; Writer, Is a Science; educator; school, consultant She has taught science courses at the high; college; Levels, Graduate.
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print. Because the colors were physically present in the print, no special projection equipment was required and the correct registration of the two images did not depend on the skill of the projectionist.
1497:
was the first Technicolor film made in India. In 1956, Technicolor made an agreement with Ramnord Research Laboratories as its processor. A imbibition lab was planned for Bombay, but was never created.
1410:(a 35 mm lower-contrast version of Kodachrome) in 1941 for use on location where the bulky three-strip camera was impractical, but the higher grain of the image made it unsuitable for studio work.
509:
wash-back of the dyes from each matrix. Each matrix in turn was pressed into contact with a plain gelatin-coated strip of film known as the "blank" and the gelatin "imbibed" the dye from the matrix. A
1745:
In May 2021, Technicolor's post-production unit was acquired by Streamland Media. On September 27, 2022, Technicolor SA, which maintains the IoT, broadband and video solution businesses, rebranded as
491:
first applied to motion pictures in 1916 by Max Handschiegl, Technicolor Process 3 (1928) was developed to eliminate the projection print made of double-cemented prints in favor of a print created by
1470:
in March 1953. The rig used two three-strip cameras, running a total of six strips of film at once (three for the left eye and three for the right). Only two films were shot with this camera set-up:
371:
special Technicolor camera used a beam-splitter that simultaneously exposed two consecutive frames of a single strip of black-and-white film, one behind a green filter and one behind a red filter.
784:, incorporated Technicolor's printing to enhance its films. Other producers followed Warner Bros.' example by making features in color, with either Technicolor, or one of its competitors, such as
524:
systems the "blank" film was a conventional black-and-white film stock on which the soundtrack, as well as frame lines, had been printed in the ordinary way prior to the dye transfer operation.
1843:, Daniel F. Comstock, "Auxiliary registering device for simultaneous projection of two or more pictures", issued December 12, 1916, assigned to Technicolor Motion Picture Corp
712:
In 1931, an improvement of Technicolor Process 3 was developed that removed grain from the Technicolor film, resulting in more vivid and vibrant colors. This process was first used on a
1689:
One issue that modern reproduction has had to contend with is that the contrast of the three film strips is not the same. This gives the effect on Technicolor prints that (for example)
497:. The Technicolor camera for Process 3 was identical to that for Process 2, simultaneously photographing two consecutive frames of a black-and-white film behind red and green filters.
78:
color negative film. Technicolor Laboratories were still able to produce Technicolor prints by creating three black-and-white matrices from the Eastmancolor negative (Process 5).
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were often used to make black-and-white prints for television and simply discarded thereafter. This explains why so many early color films exist today solely in black and white.
43:
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Other studios could then start producing cartoons with the three-strip process, but were still barred from releasing them until 1936. "Technicolor Signs With Disney",
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type that recorded only the blue light. On the surface of its emulsion was a red-orange coating that prevented blue light from continuing on to the red-sensitive
914:
was soaked in a dye complementary to the color of light recorded by the negative printed on it: cyan for red, magenta for green, and yellow for blue (see also:
3154:
1299:
Because of the added lighting, triple amount of film, and the expense of producing dye transfer projection prints, Technicolor demanded high film budgets.
1161:, a movie company formed by Technicolor investors, produced the film usually credited as the first live-action short film shot in the three-strip process,
2448:
1537:. Technicolor's lab in Paris closed in 1958, as it was facing 450 million F in debt. In 1980, the Italian Technicolor plant ceased printing dye transfer.
233:
operation): a process for making color motion picture prints that allows the use of dyes that are more stable and permanent than those formed in ordinary
1413:
Eastman Kodak introduced its first 35 mm color motion picture negative film in 1950. The first commercial feature film to use Eastmancolor was the
2772:
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As the end of the Technicolor process became apparent, the company repurposed its three-color cameras for wide-screen photography, and introduced the
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1484:(1954). A similar, but different system had been used by a different company, using two three-strip cameras side by side for a British short called
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1656:
By the late 1990s, the dye transfer process still had its advantages in the film archival community. Because the dye transfer process used stable
1552:
1173:
is a two-reel musical comedy that cost $ 65,000, approximately four times what an equivalent black-and-white two-reeler would cost. Released by
1041:
Although Disney's first 60 or so Technicolor cartoons used the three-strip camera, an improved "successive exposure" ("SE") process was adopted
391:
The two prints, made on film stock half the thickness of regular film, were then cemented together back to back to create a projection print.
2194:
2846:
1760:
The visual aesthetic of dye transfer Technicolor continues to be used in Hollywood, usually in films set in the mid-20th century. Parts of
1443:, was the last American-made feature photographed with a Technicolor three-strip camera. The last British film to be shot in Process 4 was
323:(one with a red filter and the other with a green filter), two lenses, and an adjustable prism that aligned the two images on the screen.
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Color films that recorded the three primary colors in three emulsion layers on one strip of film had been introduced in the mid-1930s by
1230:
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transferred to the licensees, with, for example, Leonard Doss going to Fox where he performed the same function for Fox's DeLuxe Color.
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cartoon with an "In Technicolor" credit. Many animation companies during the 1930s and 1940s used Technicolor for their cartoon shorts.
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Consequently, the introduction of color did not increase the number of moviegoers to the point where it was economical. This and the
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The Technicolor company remained a highly successful film processing firm and later became involved in video and audio duplication (
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Successive exposure was also employed in Disney's "True Life Adventure" live-action series, wherein the original 16mm low-contrast
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Dye imbibition was not suitable for printing optical soundtracks, which required very high resolution, so when making prints for
17:
2148:
Los Angeles Times, June 7, 1931, p. C9; The Washington Post, September 11, 1931, p. 12; Los Angeles Times, July 9, 1931, p. A9.
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1234:(1937), which was released in December 1937 and became the top-grossing film of 1938, attracted the attention of the studios.
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became known and celebrated for its highly saturated color, and was initially most commonly used for filming musicals such as
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This article is about the film processing company and trademark. For the former parent company known as Technicolor SA, see
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costumes, and makeup didn't push beyond the limitations of the system. Often on many early productions, the supervisor was
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studio, were shut out – they had to settle for either the two-color Technicolor systems or use a competing process such as
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Mr. Technicolor: The Fascinating Story of the Genius Who Invented Technicolor and Forever Changed the History of Cinema.
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1774:, were digitally manipulated to imitate color processes that were available during the periods each scene takes place.
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incorporated with SE animation and three-strip studio live-action, as required, thereby producing the combined result.
219:: several custom imaging systems used in film production, culminating in the "three-strip" process in 1932 (1917–1955).
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746:(1933). Radio Pictures followed by announcing plans to make four more features in the new process. Only one of these,
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photographed entirely in three-strip Technicolor. Initially, three-strip Technicolor was only used indoors. In 1936,
1010:(1933), engendered such a positive audience response that it overshadowed the feature films with which it was shown.
942:, and not a photographic one, as the actual printing does not involve a chemical change caused by exposure to light.
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and Chronochrome processes, Technicolor prints did not require any special projection equipment. Unlike the additive
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was applied to the blank before printing, to prevent the dyes from migrating or "bleeding" after they were absorbed.
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severely strained the finances of the movie studios and spelled the end of Technicolor's first financial successes.
2250:
Interview with Theo Gluck, Director of Library Restoration and Preservation for Walt Disney Studios Motion Pictures
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153:(1940). As the technology matured, it was also used for less spectacular dramas and comedies. Occasionally, even a
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flame is included in shot, it will rarely be of the expected orange/yellow color, often being depicted as green.
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became the first color production to have outdoor sequences, with impressive results. The spectacular success of
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366:(1922), the first generally released Technicolor film, and the first to use a two-strip subtractive color process
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Kindem, Gorham A. (1979). "Hollywood's Conversion to Color: The Technological, Economic and Aesthetic Factors".
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with a storyline for release. The only Paramount feature that seems to have been announced was a picture called
410:(1925). The film was one of the earliest uses of the process on interior sets, and demonstrated its versatility.
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with a Technicolor cartoon sequence "Hot Choc-late Soldiers" produced by Walt Disney. On July 28 of that year,
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Higgins, Scott (2000). "Demonstrating Three-Colour Technicolor: "Early Three-Colour Aesthetics and Design"".
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Higgins, Scott (2000). "Demonstrating Three-Colour Technicolor: "Early Three-Colour Aesthetics and Design"".
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397:, which debuted on November 26, 1922, used Process 2 and was the first general-release film in Technicolor.
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Mostly, during the credits of a film, the text "Color by Technicolor" or "Prints by Technicolor" is shown.
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clear (or nearly so), dark areas are strongly colored, and intermediate tones are colored proportionally.
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processes, the first version dating back to 1916, and followed by improved versions over several decades.
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emulsion of the film behind it, which therefore recorded only the red-dominated third of the spectrum.
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Warner Bros., which had vaulted from a minor exhibitor to a major studio with its introduction of the
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The dye-transfer process was discontinued by Technicolor in 2002 after the company was purchased by
1273:, ex-wife of Herbert Kalmus and part owner of the company. Directors had great difficulty with her;
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The process of splitting the image reduced the amount of light reaching the film stock. Since the
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took the lead once again by producing three features (out of an announced plan for six features):
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1560:. The Beijing line was shut down in 1993 for a number of reasons, including inferior processing.
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in New York on February 21, 1917. Technicolor itself produced the only movie made in Process 1,
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acquired Technicolor, Inc. in 1982 for $ 100 million, then sold it in 1988 to the British firm
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To make each final color print, the matrix films were soaked in dye baths of colors nominally
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Richard B. Jewell. The golden age of cinema: Hollywood, 1929–1945. Blackwell Pub. 2007 p. 103
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The Technicolor Process 4 camera, manufactured to Technicolor's detailed specifications by
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After its reintroduction, the dye transfer process was used in several big-budget, modern
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of ASA 5. That, and the bulk of the cameras and a lack of experience with three-color
199:: an umbrella company encompassing all versions and ancillary services (1914–present).
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Live-action use of three-strip Technicolor was first seen in a musical number of the
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for 16mm home movies in 1935, then for 8mm home movies and 35mm slides in 1936) and
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In 1921, Wescott left the company, and Technicolor Inc. was chartered in Delaware.
110:
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Technicolor's advantage over most early natural-color processes was that it was a
293:
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In an attempt to capitalize on the Hollywood 3-D craze, Technicolor unveiled its
1110:
announced plans to produce three-strip Technicolor films in 1934, beginning with
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930:
Strictly speaking, this is a mechanical printing process most closely related to
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2235:, June 2, 1935, p. SO1. Douglas W. Churchill, "Advices From the Film Citadel",
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had a three-strip archival negative, and one or more imbibition prints made of
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1991:
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PLC for $ 780 million. Technicolor, Inc. acquired the film processing company
457:
through the gate, it cooled and the bulge subsided, but not quite completely.
192:
The term "Technicolor" has been used historically for at least five concepts:
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The difference was that the two-component negative was now used to produce a
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Both Kalmus and Comstock went to Switzerland to earn PhD degrees; Kalmus at
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1749:, while the VFX, motion graphics and animation businesses now operated by
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received their undergraduate degrees in 1904 and were later instructors.
82:
2911:
2227:, April 17, 1934, p. 10; "Mickey Mouse Falls Under Technicolor's Sway",
85:(used between 1909 and 1915), and the most widely used color process in
3074:
with many written resources and many photographs of Technicolor prints.
2750:"Technicolor – Technology-driven company for Media & Entertainment"
2728:"Technicolor – Technology-driven company for Media & Entertainment"
2696:"MacAndrews & Forbes Group Inc reports earnings for Qtr to Sept 30"
2516:
2386:
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for both home movies and slides later in 1936). Technicolor introduced
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702:
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March 14, 1953 "New Technicolor 3-D Camera" BoxOffice Magazine. p. 10.
1488:. A number of 3-D films were made by RKO using Technicolor Monopack.
1467:
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983:
979:
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A single clear strip of black-and-white film with the soundtrack and
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400:
320:
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132:
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in the United States, citing COVID-19 as the reason for its impact.
1702:
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1613:
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1038:
and said he never wanted to make a black-and-white picture again."
1505:
process in 1957. Other formats the company ventured into included
992:
was a success with audiences and critics alike, and won the first
902:
pressed into contact face to face. The front film was a red-blind
477:
Example of Process 3 Technicolor. Myrna Loy and Walter Pidgeon in
3087:
2847:"Technicolor Creative Studios: We Are Now an Independent Company"
1907:
1746:
1510:
926:
882:
consisting of a partially reflecting surface inside a split-cube
527:
The first feature made entirely in the Technicolor Process 3 was
510:
33:
2630:"Technicolor No. VI: Dye-transfer prints from enhanced process"
2048:"The first Technicolor film was a total disaster a century ago"
2018:"The first Technicolor film was a total disaster a century ago"
1546:
1302:
781:
514:
2181:, which was to have starred Richard Arlen and Dolores Del Rio.
81:
Process 4 was the second major color process, after Britain's
3066:
2667:
1568:
1277:
said, "I couldn't do anything right in Mrs. Kalmus's eyes."
266:
2821:"Streamland Media Finalizes Acquisition of Technicolor Post"
1651:
94:
1395:
2962:
Farber on Film: The Complete Film Writings of Manny Farber
2571:
2537:
2468:
811:
533:(1928), which had a synchronized score and sound effects.
2710:"History of Carlton Communications PLC – FundingUniverse"
2655:"Untouched is impossible: the story of Star Wars in film"
2557:"Dario Argento's Suspiria: A Visual and Aural Masterwork"
2124:
Kalmus, Herbert. "Technicolor Adventures in Cinemaland",
2107:
Kalmus, Herbert. "Technicolor Adventures in Cinemaland",
2090:
Kalmus, Herbert. "Technicolor Adventures in Cinemaland",
1719:
1715:
1174:
1000:
from 1933 on were shot with the three-strip process. One
3026:
Technicolor Movies: The History of Dye Transfer Printing
2930:
Global Film Color: The Monopack Revolution at Midcentury
319:
speed. Exhibition required a special projector with two
1920:"The Rise of Technicolor Is Colorful Hollywood History"
414:
The second all-color feature in Process 2 Technicolor,
1131:, released February 16, 1934. On July 1, MGM released
326:
The results were first demonstrated to members of the
3078:
Technicolor History at the American WideScreen Museum
1994:. U.S. Patent No. 1,391,029, filed February 20, 1917.
172:
The "Tech" in the company's name was inspired by the
3150:
Companies that have filed for Chapter 15 bankruptcy
1106:In November 1933, Technicolor's Herbert Kalmus and
169:(1953) – was filmed in Technicolor.
2849:. Technicolor Creative Studios. September 27, 2022
2487:Haines, Richard W. (2000). "Technicolor Revival".
2126:Journal of the Society of Motion Picture Engineers
2109:Journal of the Society of Motion Picture Engineers
2092:Journal of the Society of Motion Picture Engineers
1839:
448:(1926) was the third all-color Process 2 feature.
404:A frame enlargement of a Technicolor segment from
3072:Technicolor on Timeline of Historical Film Colors
3040:Hollywood's Conversion of All Production to Color
1861:"How MIT And Technicolor Helped Create Hollywood"
1491:Technicolor expanded into India in the 1950s and
1014:was buzzing about color film again. According to
303:(1917), the first publicly shown Technicolor film
3101:
3145:Academy Award for Technical Achievement winners
2991:Glorious Technicolor: The Movies' Magic Rainbow
2588:
2586:
2449:"Chronology of Motion Picture Films: 1940–1959"
1237:
918:for a technical discussion of color printing).
850:A Three-strip Technicolor camera from the 1930s
843:Technicolor feature film was produced in 1955.
3014:George Eastman House, Rochester (N.Y.), 2015.
2189:
2187:
1872:
1870:
1378:, an example of Technicolor filming in 1950s'
1093:made for skepticism in the studio boardrooms.
551:(1929) (the first all-talking color feature),
3088:Technicolor100: Explore Technicolor's History
2443:
2441:
2399:: CS1 maint: DOI inactive as of April 2024 (
2342:: CS1 maint: DOI inactive as of April 2024 (
3045:Herbert T. Kalmus with Elenore King Kalmus,
2928:Street, Sarah; Yumibe, Joshua, eds. (2024).
2927:
2698:. November 12, 1983 – via NYTimes.com.
2583:
2577:
2543:
2529:: CS1 maint: DOI inactive as of June 2024 (
2474:
1992:Cinematographic Multiplex Projection, &c
1908:The introduction of Eastmancolor and decline
1722:manufacturing) and digital video processes.
1303:The introduction of Eastmancolor and decline
925:printed in advance was first treated with a
3155:2020 disestablishments in the United States
2623:
2621:
2619:
2184:
2171:in color and also to rework a revue called
1867:
953:
756:announced plans to make eight features and
2892:Journal of the University Film Association
2438:
1569:Reintroduction of the dye transfer process
994:Academy Award for Best Animated Short Film
806:
2139:Los Angeles Times, June 7, 1931, Page C9.
1963:"$ 1,000,000 Company Will Color Movies",
1652:Dye transfer Technicolor in archival work
1357:Learn how and when to remove this message
2869:"Technicolor officially becomes Vantiva"
2616:
1738:On June 24, 2020, Technicolor filed for
1701:
1368:
1320:This section includes a list of general
1066:
845:
815:
752:(1931), was actually produced. Although
472:
399:
355:
292:
283:
42:
2356:
2299:
1757:as the publicly independent companies.
1157:and filmed in three-strip Technicolor.
1062:
812:Process 4: Development and introduction
539:(1929), with a synchronized score, and
14:
3102:
2889:
2671:"See What Flame Test Colors Look Like"
2627:
2486:
701:became the first color movie to use a
328:American Institute of Mining Engineers
3083:Database of 3-strip Technicolor Films
2770:
2041:
2039:
1812:List of three-strip Technicolor films
297:A frame from a surviving fragment of
174:Massachusetts Institute of Technology
2771:Cohen, David S. (January 26, 2010).
2045:
1697:
1306:
307:Technicolor originally existed in a
3012:The Dawn of Technicolor, 1915–1935.
3007:. London Champman & Hall, 1951.
1550:(1990) and even one American film,
1531:to make prints for his horror film
1149:on September 22, both being comedy
24:
2983:
2795:"Technicolor files for bankruptcy"
2634:Timeline of Historical Film Colors
2036:
1563:
1326:it lacks sufficient corresponding
25:
3171:
3115:Audiovisual introductions in 1916
3110:Audiovisual introductions in 1914
3060:
3028:. McFarland & Company, 2003.
2270:"Activities on the Western Front"
1976:"Technicol.-Prizma Controversy",
1807:List of early color feature films
705:process (using a system known as
3160:2020 disestablishments in Canada
3067:Technicolor SA corporate website
2773:"Technicolor reinventing itself"
2073:The First Successful Color Movie
1946:What? Color in the Movies Again?
1311:
309:two-color (red and green) system
3010:Layton, James – Pierce, David:
2883:
2861:
2839:
2813:
2787:
2764:
2742:
2720:
2702:
2688:
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2647:
2549:
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2416:
2407:
2350:
2293:
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2217:
2161:
2151:
2142:
2133:
2116:
2099:
2082:
2065:
2010:
1997:
1231:Snow White and the Seven Dwarfs
934:and very loosely comparable to
187:
138:Snow White and the Seven Dwarfs
47:"Technicolor is natural color"
2921:
2598:Technicolor100, Eastman Museum
2199:Technicolor100, Eastman Museum
1985:
1970:
1957:
1938:
1912:
1900:
1882:Technicolor100, Eastman Museum
1853:
1833:
1225:The Trail of the Lonesome Pine
340:process. Only a few frames of
13:
1:
2993:. Easton Studio Press, 2005.
2871:. Vantiva. September 27, 2022
1827:
1415:National Film Board of Canada
1248:on the 1943 Technicolor film
1114:starring in a projected film
1071:1930 advertisement featuring
1042:
3049:MagicImage Filmbooks, 1993.
2426:, New York: Doubleday, 1974.
2259:, by Robert A. Harris, 2008.
2167:MGM announced plans to make
2003:"Moving Pictures in Color",
1751:Technicolor Creative Studios
1611:productions. These included
1459:(1957) were released later.
1238:Limitations and difficulties
764:Legong: Dance of the Virgins
468:
351:
348:, are known to exist today.
288:
116:The Adventures of Robin Hood
51:stars in an ad for his film
38:Technicolor (disambiguation)
27:Color motion picture process
7:
3135:Motion picture film formats
1967:, September 21, 1922, p. 1.
1780:
1706:Technicolor logo since 2010
1096:An October 1934 article in
820:The ending card for a 1936
10:
3176:
2951:
2007:, February 22, 1917, p. 9.
1982:, December 7, 1922, p. 12.
1792:List of color film systems
1431:(1955), filmed in 1954 by
1185:Twentieth Century Pictures
1167:released August 31, 1934.
256:
157: – such as
31:
3125:Film and video technology
3042:. Tobey Publishing, 2000.
2501:10.2979/FIL.2000.12.3.410
2371:10.2979/FIL.2000.12.3.358
2314:10.2979/FIL.2000.12.3.358
878:Corporation, contained a
862:one: unlike the additive
743:Mystery of the Wax Museum
709:, which used 65mm film).
417:Wanderer of the Wasteland
311:. In Process 1 (1916), a
2934:Rutgers University Press
2578:Street & Yumibe 2024
2544:Street & Yumibe 2024
2475:Street & Yumibe 2024
1375:Gentlemen Prefer Blondes
1218:(1935) became the first
954:Early adoption by Disney
554:Gold Diggers of Broadway
429:The Phantom of the Opera
407:The Phantom of the Opera
248:: used since 1954, when
3003:Adrian Cornwell-Clyne,
2503:(inactive 2024-06-12).
2451:. Kodak. Archived from
2373:(inactive 2024-04-10).
2316:(inactive 2024-04-10).
2225:The Wall Street Journal
1979:The Wall Street Journal
1724:MacAndrews & Forbes
1453:Invitation to the Dance
1406:, a single-strip color
1341:more precise citations.
1251:For Whom the Bell Tolls
1180:The House of Rothschild
1034:(1933), saw one of the
807:Three-strip Technicolor
680:Fifty Million Frenchmen
513:made from deacetylated
223:Technicolor IB printing
91:Golden Age of Hollywood
18:Three-strip Technicolor
3120:Broadcasting companies
2559:. Indiana Public Media
2255:April 2, 2009, at the
2239:, June 9, 1935, p. X3.
2195:"Dye-Transfer Process"
1728:Carlton Communications
1707:
1390:in the United States (
1383:
1265:
1203:Samuel Goldwyn Studios
1128:The Cat and the Fiddle
1081:
851:
830:
489:dye-transfer technique
484:
411:
367:
304:
64:
36:. For other uses, see
3005:Colour Cinematography
2760:on November 13, 2006.
2738:on November 13, 2006.
2628:Flueckiger, Barbara.
1841:US patent 1208490
1740:Chapter 15 bankruptcy
1705:
1520:The Godfather Part II
1372:
1242:
1070:
1053:Kodachrome Commercial
856:subtractive synthesis
849:
819:
626:Bride of the Regiment
614:The Life of the Party
542:The Mysterious Island
480:Bride of the Regiment
476:
403:
359:
296:
284:Two-color Technicolor
182:Daniel Frost Comstock
46:
2783:on February 3, 2010.
2604:on December 25, 2015
2455:on January 13, 2010.
1888:on December 25, 2015
1802:Dye-transfer process
1787:List of film formats
1601:Apocalypse Now Redux
1556:(1989), directed by
1143:Service with a Smile
1063:Convincing Hollywood
962:to shoot one of his
620:Sweet Kitty Bellairs
423:The Ten Commandments
263:University of Zurich
246:Color by Technicolor
72:color motion picture
3024:Richard W. Haines,
2754:www.technicolor.com
2732:www.technicolor.com
2714:fundinguniverse.com
2422:Vincente Minnelli,
2233:The Washington Post
2079:, Feb. 1923, p. 59.
2046:Trenholm, Richard.
2024:. September 9, 2017
1515:Ultra Panavision 70
1123:Metro-Goldwyn-Mayer
1078:Paramount on Parade
758:Metro-Goldwyn-Mayer
749:Fanny Foley Herself
394:The Toll of the Sea
363:The Toll of the Sea
225:("IB" abbreviates "
213:Technicolor process
160:Leave Her to Heaven
95:three-color process
3093:2017-09-11 at the
2970:Library of America
2424:I Remember It Well
2413:Farber, 2009 p. 90
2281:. November 5, 1933
2278:The New York Times
2237:The New York Times
2229:The New York Times
2179:Rose of the Rancho
2005:The New York Times
1965:The New York Times
1926:. December 4, 1998
1708:
1583:Gone With the Wind
1449:The Feminine Touch
1384:
1147:Good Morning, Eve!
1082:
1026:RKO Radio Pictures
852:
831:
754:Paramount Pictures
650:Under a Texas Moon
487:Based on the same
485:
412:
368:
305:
265:, and Comstock at
144:Gulliver's Travels
122:Gone with the Wind
106:Down Argentine Way
65:
3020:978-0-93539-828-1
2978:978-1-59853-050-6
2174:The March of Time
1924:Los Angeles Times
1822:Color photography
1753:; these two were
1698:Technicolor today
1620:The Thin Red Line
1558:Richard W. Haines
1472:Flight to Tangier
1367:
1366:
1359:
1275:Vincente Minnelli
1263:, July 19, 1944.
1116:The World Outside
1073:Maurice Chevalier
1007:Three Little Pigs
996:. All subsequent
990:Flowers and Trees
976:Fleischer Studios
971:Flowers and Trees
958:Kalmus convinced
698:Song of the Flame
602:Song of the Flame
572:The Vagabond King
560:The Show of Shows
548:On with the Show!
440:Douglas Fairbanks
376:subtractive color
207:film laboratories
125:(1939), the film
16:(Redirected from
3167:
2989:Fred E. Basten,
2947:
2916:
2915:
2887:
2881:
2880:
2878:
2876:
2865:
2859:
2858:
2856:
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2837:
2836:
2834:
2832:
2817:
2811:
2810:
2808:
2806:
2791:
2785:
2784:
2779:. Archived from
2768:
2762:
2761:
2756:. Archived from
2746:
2740:
2739:
2734:. Archived from
2724:
2718:
2717:
2706:
2700:
2699:
2692:
2686:
2685:
2683:
2681:
2665:
2659:
2658:
2651:
2645:
2644:
2642:
2640:
2625:
2614:
2613:
2611:
2609:
2600:. Archived from
2590:
2581:
2575:
2569:
2568:
2566:
2564:
2553:
2547:
2541:
2535:
2534:
2528:
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2286:
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2246:
2240:
2221:
2215:
2214:
2212:
2210:
2201:. Archived from
2191:
2182:
2165:
2159:
2155:
2149:
2146:
2140:
2137:
2131:
2120:
2114:
2103:
2097:
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2080:
2069:
2063:
2062:
2060:
2058:
2043:
2034:
2033:
2031:
2029:
2014:
2008:
2001:
1995:
1989:
1983:
1974:
1968:
1961:
1955:
1942:
1936:
1935:
1933:
1931:
1916:
1910:
1904:
1898:
1897:
1895:
1893:
1884:. Archived from
1874:
1865:
1864:
1863:. July 31, 2015.
1857:
1851:
1849:
1848:
1844:
1837:
1577:The Wizard of Oz
1476:Martin and Lewis
1362:
1355:
1351:
1348:
1342:
1337:this section by
1328:inline citations
1315:
1314:
1307:
1292:The Wizard of Oz
1260:The New Republic
1159:Pioneer Pictures
1047:
1044:
1036:Silly Symphonies
1028:and director of
1022:Merian C. Cooper
998:Silly Symphonies
916:CMYK color model
836:Great Depression
801:Great Depression
731:Manhattan Parade
608:Song of the West
445:The Black Pirate
342:The Gulf Between
333:The Gulf Between
300:The Gulf Between
203:Technicolor labs
111:costume pictures
100:The Wizard of Oz
93:. Technicolor's
21:
3175:
3174:
3170:
3169:
3168:
3166:
3165:
3164:
3130:History of film
3100:
3099:
3095:Wayback Machine
3063:
2986:
2984:Further reading
2954:
2944:
2924:
2919:
2888:
2884:
2874:
2872:
2867:
2866:
2862:
2852:
2850:
2845:
2844:
2840:
2830:
2828:
2819:
2818:
2814:
2804:
2802:
2801:. June 24, 2020
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2439:
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2421:
2417:
2412:
2408:
2392:
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2351:
2335:
2334:
2298:
2294:
2284:
2282:
2272:
2268:
2267:
2263:
2257:Wayback Machine
2247:
2243:
2222:
2218:
2208:
2206:
2205:on July 8, 2015
2193:
2192:
2185:
2169:The Merry Widow
2166:
2162:
2156:
2152:
2147:
2143:
2138:
2134:
2128:, December 1938
2121:
2117:
2111:, December 1938
2104:
2100:
2094:, December 1938
2087:
2083:
2077:Popular Science
2070:
2066:
2056:
2054:
2044:
2037:
2027:
2025:
2016:
2015:
2011:
2002:
1998:
1990:
1986:
1975:
1971:
1962:
1958:
1954:, October 1934.
1943:
1939:
1929:
1927:
1918:
1917:
1913:
1905:
1901:
1891:
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1691:cinematic fades
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1564:Post-1995 usage
1481:Money From Home
1474:(1953) and the
1363:
1352:
1346:
1343:
1333:Please help to
1332:
1316:
1312:
1305:
1266:
1240:
1145:, followed by
1134:Hollywood Party
1065:
1045:
1024:, producer for
956:
936:offset printing
876:Mitchell Camera
858:rather than an
826:Merrie Melodies
814:
809:
770:Kliou the Tiger
662:Viennese Nights
590:Hold Everything
471:
354:
344:, showing star
291:
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70:is a series of
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1212:Pioneer/RKO's
1189:United Artists
1091:cinematography
1064:
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1002:Silly Symphony
965:Silly Symphony
955:
952:
904:orthochromatic
813:
810:
808:
805:
786:Brewster Color
596:The Rogue Song
494:dye imbibition
470:
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454:depth of focus
353:
350:
338:additive color
290:
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285:
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258:
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178:Herbert Kalmus
135:films such as
60:The Film Daily
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2966:Robert Polito
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2958:Farber, Manny
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2579:
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2563:September 29,
2558:
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2546:, p. 20.
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1549:
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1543:Zhang Yimou's
1538:
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1529:Dario Argento
1524:
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1438:
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1420:Royal Journey
1416:
1411:
1409:
1408:reversal film
1405:
1401:
1400:Agfacolor Neu
1397:
1393:
1389:
1388:Eastman Kodak
1381:
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880:beam splitter
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719:The Runaround
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714:Radio Picture
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674:Kiss Me Again
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522:sound-on-film
518:
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507:
506:complementary
502:
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409:
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395:
389:
386:
385:complementary
380:
377:
372:
365:
364:
360:A frame from
358:
349:
347:
346:Grace Darmond
343:
339:
335:
334:
329:
324:
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317:
316:beam-splitter
314:
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205:: a group of
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62:
61:
56:
55:
50:
49:Paul Whiteman
45:
39:
35:
30:
19:
3046:
3039:
3038:John Waner,
3025:
3011:
3004:
2990:
2964:. Edited by
2961:
2929:
2898:(2): 29–36.
2895:
2891:
2885:
2875:November 17,
2873:. Retrieved
2863:
2853:November 17,
2851:. Retrieved
2841:
2831:November 17,
2829:. Retrieved
2815:
2803:. Retrieved
2798:
2789:
2781:the original
2776:
2766:
2758:the original
2753:
2744:
2736:the original
2731:
2722:
2713:
2704:
2690:
2678:. Retrieved
2674:
2663:
2649:
2637:. Retrieved
2633:
2606:. Retrieved
2602:the original
2597:
2573:
2561:. Retrieved
2551:
2539:
2525:cite journal
2492:
2489:Film History
2488:
2482:
2470:
2461:
2453:the original
2431:
2423:
2418:
2409:
2395:cite journal
2362:
2359:Film History
2358:
2352:
2338:cite journal
2305:
2302:Film History
2301:
2295:
2283:. Retrieved
2276:
2264:
2244:
2236:
2232:
2228:
2224:
2219:
2207:. Retrieved
2203:the original
2198:
2178:
2172:
2168:
2163:
2153:
2144:
2135:
2125:
2118:
2108:
2101:
2091:
2084:
2076:
2067:
2055:. Retrieved
2051:
2026:. Retrieved
2021:
2012:
2004:
1999:
1987:
1977:
1972:
1964:
1959:
1949:
1940:
1928:. Retrieved
1923:
1914:
1906:See section
1902:
1890:. Retrieved
1886:the original
1881:
1855:
1835:
1776:
1766:(2004), the
1761:
1759:
1744:
1737:
1709:
1688:
1684:
1680:
1675:
1669:
1666:George Lucas
1662:
1655:
1643:
1638:Pearl Harbor
1636:
1630:
1624:
1618:
1612:
1606:
1599:
1593:
1587:
1581:
1575:
1572:
1551:
1545:
1539:
1532:
1525:
1518:
1500:
1492:
1490:
1485:
1479:
1471:
1464:stereoscopic
1461:
1437:Jane Russell
1426:
1425:
1418:
1417:documentary
1412:
1403:
1398:in Germany (
1385:
1373:
1353:
1344:
1325:
1298:
1290:
1283:
1279:
1267:
1258:
1256:
1249:
1246:Manny Farber
1244:Film critic
1243:
1229:
1223:
1220:feature film
1213:
1211:
1207:Eddie Cantor
1198:Kid Millions
1196:
1178:
1171:La Cucaracha
1170:
1169:
1164:La Cucaracha
1162:
1146:
1142:
1139:Warner Bros.
1132:
1126:
1120:
1115:
1105:
1097:
1095:
1083:
1076:
1050:
1040:
1035:
1029:
1015:
1005:
1001:
997:
989:
988:
969:
963:
957:
944:
932:Woodburytype
920:
912:
908:panchromatic
896:
873:
853:
841:
832:
824:
822:Warner Bros.
798:
779:
775:
768:
762:
747:
741:
735:
729:
726:Warner Bros.
724:
717:
711:
696:
693:Walter Lantz
685:
678:
672:
668:Woman Hungry
666:
660:
654:
648:
644:King of Jazz
642:
636:
630:
624:
618:
612:
606:
600:
594:
588:
582:
576:
570:
564:
558:
552:
546:
540:
534:
528:
526:
519:
503:
499:
492:
486:
478:
463:
459:
450:
443:
433:
432:(1925), and
427:
421:
415:
413:
405:
392:
390:
381:
373:
369:
361:
341:
331:
325:
306:
298:
279:
275:
271:
260:
250:Eastmancolor
245:
241:
231:dye-transfer
222:
216:
212:
202:
196:
191:
188:Nomenclature
171:
164:
158:
148:
147:(1939), and
142:
136:
131:(1949), and
126:
120:
114:
104:
98:
80:
76:
67:
66:
58:
54:King of Jazz
52:
29:
2922:Works cited
2825:PR Newswire
2680:October 14,
2639:February 4,
2608:February 4,
2594:"1975–2015"
2285:December 6,
2209:February 4,
2057:October 14,
1930:October 14,
1892:February 4,
1878:"1955–1975"
1763:The Aviator
1632:Toy Story 2
1589:Rear Window
1507:VistaVision
1486:Royal River
1466:camera for
1455:(1956) and
1435:, starring
1339:introducing
1215:Becky Sharp
1151:short films
1112:Ann Harding
1056:live action
1046: 1937
1020:magazine, "
960:Walt Disney
940:lithography
923:frame lines
864:Kinemacolor
767:(1934) and
740:(1932) and
677:(1931) and
584:Golden Dawn
578:Follow Thru
235:chromogenic
197:Technicolor
128:Blue Lagoon
119:(1938) and
103:(1939) and
89:during the
83:Kinemacolor
68:Technicolor
3104:Categories
1828:References
1817:Color film
1797:Imbibition
1595:Funny Girl
1503:Technirama
1392:Kodachrome
1322:references
1286:film speed
1155:Leon Errol
968:cartoons,
868:Dufaycolor
790:Multicolor
703:widescreen
530:The Viking
227:imbibition
163:(1945) or
2904:0041-9311
2805:March 31,
2799:IndieWire
2675:ThoughtCo
2509:0892-2160
2379:0892-2160
2322:0892-2160
1676:Star Wars
1671:Star Wars
1658:acid dyes
1609:Hollywood
1468:3-D films
1457:Jet Pilot
1433:Universal
1380:Hollywood
1153:starring
1141:released
1031:King Kong
1012:Hollywood
984:Cinecolor
980:Ub Iwerks
900:emulsions
794:Cinecolor
716:entitled
707:Vitascope
689:Ub Iwerks
683:(1931).
469:Process 3
352:Process 2
321:apertures
289:Process 1
269:in 1906.
155:film noir
87:Hollywood
3091:Archived
2960:. 2009.
2912:20687473
2253:Archived
2028:June 27,
1781:See also
1755:spun-off
1626:Godzilla
1614:Bulworth
1534:Suspiria
1523:(1974).
1451:(1956).
1404:Monopack
1125:feature
978:and the
948:fringing
892:spectrum
886:, color
860:additive
773:(1935).
737:Doctor X
734:(1932),
671:(1931),
665:(1930),
659:(1930),
653:(1930),
647:(1930),
641:(1930),
638:Whoopee!
635:(1930),
629:(1930),
623:(1930),
617:(1930),
611:(1930),
605:(1930),
599:(1930),
593:(1930),
587:(1930),
581:(1930),
575:(1930),
569:(1929),
563:(1929),
557:(1929),
438:(1925).
426:(1923),
176:, where
150:Fantasia
141:(1937),
133:animated
113:such as
109:(1940),
2952:Sources
2777:Variety
2517:3815348
2387:3815345
2330:3815345
2158:white).
1951:Fortune
1747:Vantiva
1646:Thomson
1511:Todd-AO
1478:comedy
1428:Foxfire
1335:improve
1205:) with
1191:) with
1099:Fortune
1017:Fortune
927:mordant
888:filters
792:(later
782:talkies
536:Redskin
511:mordant
435:Ben-Hur
257:History
166:Niagara
34:Vantiva
3053:
3032:
3018:
2997:
2976:
2940:
2910:
2902:
2515:
2507:
2385:
2377:
2328:
2320:
1847:
1768:biopic
1635:, and
1598:, and
1547:Ju Dou
1513:, and
1324:, but
515:chitin
483:(1930)
242:Prints
217:format
63:, 1930
2908:JSTOR
2513:JSTOR
2383:JSTOR
2326:JSTOR
2273:(PDF)
1087:speed
884:prism
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