Agfa bipack films

1929

|

(Agfa)

Subtractive 2 color: Bi-pack

AGFA BIPACK FILM The front film is orthochromatic and sensitive, therefore, to green and blue. The rear film is panchromatic and records red-orange only, there being a red-orange filter on the orthochromatic emulsion. In fact, this is a bipack of the ...

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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

11 Images in 1 Gallery

Alfacolour / Alfacolor

1950

|

(Alfa Photographic Laboratories)

Subtractive 2 color: Bi-pack, duplitized film

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Allfarbenfilm

1930

Additive 3 color: Beam-splitter, substandard

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Americolor

1947

|

Color Film Company of America

Subtractive 2 color: Bi-pack, duplitized

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Audibert

1911

|

Rodolphe Berthon and Maurice Audibert

Additive 3 color: Prism

“R. Berthon and M. Audibert patented a method of obtaining a virtual image by means of an anterior lens and prisms or mirrors. This idea was further improved upon in E.P. 17,023, 1913. In F.P. 458,040 Audibert proposed to use a negative front lens ...

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.

2 Images

Audibert

1930

|

Maurice Audibert

Addtive 3 color: Beam-splitter, mosaic screen, 65 mm

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Credit: Cinémathèque française, conservatoire des techniques, Paris.

3 Images

Auto Natural Color / Bernardi

1925

|

Anthony Bernardi and P.L. Burger

Additive 3 color: Beam-splitter, substandard

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Bi-pack

1901

|

Adolf A. Gurtner

Subtractive 2 color: Bi-pack, still photography

A. Gurtner (Eng. P. 7924/03; U.S.P. 730454), used a front element that was sensitive only to the blue, and a rear element that was sensitive up to but not including the red. He was the first person to suggest that the two films or plates be placed ...

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Source: U.S.P. 730454

1 Image

Brewster

1915

|

Percy Douglas Brewster

Subtractive 2 color: Perforated mirror as beam-splitter, duplitized film

“Following the premises of one of William Friese-Greene’s systems, this two-colour subtractive process required that two reels of film be printed in parallel through a lens fitted with a prism that split light in two directions, through red ...

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Brewster

1930

|

Percy Douglas Brewster (Brewster Color Film Corp)

Subtractive 2 or 3 color: Perforated mirror as beam-splitter, duplitized film

“The Brewster Process. (U.S.P. 1,752,477. 1930-) Camera. – P. D. Brewster, an American inventor, who was one of the first to apply the bipack system to colour cinematography, has a number of patents to his credit covering various cameras and ...

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Dyes of Brewster color. Credit: Brian Pritchard.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

52 Images in 1 Gallery

British Tricolour / Dufaychrome

1946

|

Jack Coote (Dufay-Chromex Ltd.)

Subtractive 3 color: Beam-splitter, three-strip, multiple printing

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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.
Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.

19 Images in 3 Galleries

Busch Farbenfilm

1926

|

Emil Busch (Busch, Rathenow)

|

Germany

Additive 2 color: Beam-splitter, red-green

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Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.

5 Images in 1 Gallery

Chemicolor / Ufacolor in GB

1932

Subtractive 2 color: Bi-pack, mordant toning

“Chemicoior was the name under which the German Ufacolor Process was marketed in Britain. Ufacolor was also marketed under the name Spectracolor. The process used Agfa bipack negatives loaded with the emulsion sides facing and separated by a ...

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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions. Film: Pagliacci (1937).

9 Images in 2 Galleries

Chimicolor

1931

|

R. Valette (Syndicat de la Cinématographie des Couleurs)

Subtractive 3 color: Beam-splitter, double-coated film, mordant toning

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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.

2 Images

Cinecolor (subtractive 2 color)

1932

|

William T. Crespinel (Cinecolor Corporation)

Subtractive 2 color: Bi-pack, duplitized film

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Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Reflection on Cinecolor print. Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph by Barbara Flueckiger
Reflection on Cinecolor 16 mm print. Credit: Library of Congress. Photograph by Barbara Flueckiger

93 Images in 9 Galleries

Cinecolor additive 2 color / Cinecolour

1925

|

D. Daponte, S.J. Cox, Adam Hilger Ltd. and J.H. Dowell (Cinecolor)

Additive 2 color: Beam-splitter, substandard

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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

2 Images

Cinefotocolor

1948

|

Daniel Aragonés (Laboratorio Cinefoto de Barcelona)

Subtractive 2 color: Bi-pack

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Cinekrome

1919

|

(Kuz, Wheeler & Moffat Corp.)

Additive 2 color: Beam-splitter

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Cinemacolor

1934

|

Otto C. Gilmore (Cinemacolor Corporation)

Additive 2 color: Beam-splitter, sub-standard vertical

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. A History of Motion Picture Color Technology.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

2 Images

Color Cinema Corporation

1927

|

(Color Cinema Corporation)

Subtractive 2 color: Bi-pack, double-coated

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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.

2 Images

Coloratura

1931

|

(Pathé Exchange)

Subtractive 2 color: Bi-pack, dupitized positive, toned

“Coloratura. This is the process of Pathé Exchange at Bound Brook, N. J. Negatives are made by the bi-pack method. Prints are made on double-sided film and are dye-toned on one side and metallic-toned on the other. The double-sided film, ...

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Colorcraft

1922

|

(Colorcraft)

Additive 2 color: Bi-pack, double-coated

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Russian Ideas in Clothes! (USA 1922). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.

21 Images in 1 Gallery

Colorgraph / Cinecolorgraph

1912

|

Arturo Hernandez-Mejia

Subtractive 2 color: Beam-splitter, double-coated film

“The principle of the subtractive colour process was described first by Louis Ducos du Hauron in 1868. Although eminently suitable for colour motion pictures, the principle could not be applied until means were found of producing several colour ...

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Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 67.

1 Image

Colorvision

1950

|

(Colorvision, Inc)

Additive 3 color: Beam-splitter

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Cosmocolor

1935

|

Otto C. Gilmore

Additive 2 color: Beam-splitter, double-coated

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

2 Images

Dascolour

1935

|

L. J. Dassonville

Subtractive 2 color: Bi-pack, double-coated print

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Credit: Brian Pritchard.

1 Image

Douglass Color No. 2

1919

|

Leon Forrest Douglass

Subtractive 2 color: Separations, multi-layer prints

“Douglass Color No. 2 (1919). The two negatives of the Douglass Color system No. 1 were printed on a positive. In this updated version of the process, rather than projecting the frames through red and green filters, both latent images were ...

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Dugromacolor

1952

|

Roger Dumas, Georges Grosset and André Marx

Additive 3 color: Beam-splitter, substandard

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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.

1 Image

Dunning Color

1937

|

Carroll H. Dunning

Subtractive 3 color: Beam-splitter, double-coated

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Eastman Multilayer Stripping Film / Kodak Stripping Film

1950

|

(Eastman Kodak)

Subtractive 3 color: Stripping film

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Fullcolor

1942

|

L. S. Trimble (Trimble Laboratories)

Subtractive 2 colors: Bi-pack, duplitized film

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Harmonicolor

1935

|

Maurice Combes

Subtractive 2 color: Bi-pack, double-coated

“Harmonicoior was developed by French chemist Maurice Combes. It was first formally demonstrated in London by Harmonicoior Films Ltd, of 4 Great Winchester Street, on the 23 March 1936 at the Curzon Soho with the film Talking Hands, produced at ...

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Harriscolor

1929

|

J.B. Harris, Jr.

Subtractive 2 color: Beam-splitter, single-coated

“Harriscolor In this method as in other methods of color photography, independent color value negatives are first obtained. The Harriscolor process can employ one of the following two methods: Either a camera wherein the dividing light prisms ...

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Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.

3 Images

Hirlicolor

1936

|

George Hirlimann

Subtractive 2 color: Bi-pack

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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)

2 Images

Horst

1924

|

Ludwig Horst senior

Additive 3 color: Beam-splitter, 65 mm negative

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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

4 Images in 1 Gallery

Jumeaux/Davidson

1903

|

Benjamin Jumeaux and W. L. Davidson

Additive 3 color: Prism

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.

2 Images

Kodachrome Two-color 1915, after 1930 renamed Fox Nature Color

1915

|

John George Capstaff (Kodak Research Laboratories)

Subtractive 2 color process: Beam-splitter, double-coated film

The Kodachrome process was invented in 1913 by John G. Capstaff for still photography and subsequently adapted to motion pictures. For the process two frames were advanced simultaneously, one located above the other. The light passed either through two lenses or through a beam-splitter, fitted with red and green filters. The release print was exposed through a beam-splitter whereby the alternate frames were projected onto either side of double-coated stock. After development by a usual b/w process, the film was tanned to harden the exposed areas. The soft areas were dyed red-orange and blue-green respectively.

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Two-Color Kodachrome Print (USA ca. 1925 to 1927, Anonymous). Credit: George Eastman Museum. Photographs of the Kodachrome two-color double coated stock from 1925 and 1927 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Magnification 5x. Credit: photomicrograph by Silvana Konermann.
Magnification 10x. Credit: photomicrograph by Silvana Konermann.
Magnification 20x. Credit: photomicrograph by Silvana Konermann.
Kodachrome Two-color test from 1922, YouTube channel of the George Eastman House.

350 Images in 12 Galleries

Magnachrome

1931

|

Roy Hunter (Universal Films)

Additive 2 color: Bi-pack, half-size

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Magnacolor

1931

|

(Consolidated Laboratories)

Subtractive 2 color: Bi-pack, double-coated

“An American two-colour subtractive process still worked by the Consolidated Film Industries division of Republic Pictures Corporation. This concern was licensed by the owners of the “Prizma” patents, which it will be remembered was ...

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Mysore Yesterday and Tomorrow Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph: Barbara Flueckiger.

23 Images in 2 Galleries

Monopack stripping

1903

|

John H. Smith

Subtractive 3 color: Monopack, stripping, still photography

“To offset the possible effects of poor contact between the various members of the tripack, J. H. Smith coated the emulsions directly one on top of the other, but with an insulating layer of collodion between them. In this manner there was ...

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Source: U.S.P. 781469, Sept. 13,1904

1 Image

Multicolor

1928

|

(Multicolor)

Subtractive 2 color: Bi-pack, duplitized

“In the Multicolor (two-color) subtractive process, two negative films are run simultaneously through any standard camera with their emulsion surfaces in contact. The front negative is orthochromatic, with the surface layer dyed orange-red to ...

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Iridescence on Multicolor print, reflection properties. Credit: Library of Congress. Photograph by Barbara Flueckiger
Magnification 20x. Credit: photomicrograph by Silvana Konermann.
Magnification 10x. Credit: photomicrograph by Silvana Konermann.
Magnification 5x. Credit: photomicrograph by Silvana Konermann.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Fox Movietone Follies of 1929.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Magnification of an area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Reflection properties. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.

72 Images in 6 Galleries

Photocolor

1930

|

(Photocolor Corp.)

Subtractive 2 color: Beam-splitter, double-coated

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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.

42 Images

Polychromide

1918

|

Aaron OR Aron Hamburger

Subtractive 2 color: Beam-splitter, later bi-pack, mordant dye

“Polychromide, a two-color subtractive process invented in 1918 by Aron Hamburger, achieved limited commercial success overseas, and was occasionally employed in England as late as 1933. Originally an orthochromatic and a panchromatic negative were ...

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Polychromide samples from the Kodak Film Samples Collection at the National Science and Media Museum in Bradford. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard.
Credit: Brian Pritchard
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 279.

66 Images in 2 Galleries

Prism

1905

|

Otto Pfenniger (often referenced as Pfenninger)

Additive 3 color: Prism

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Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.

1 Image

Prizma II

1919

|

William van Doren Kelley (Prizma Company)

|

United States of America

Subtractive 2 color: Toning on double coated film

“In its final form Prizma made use of duplitized positive film. As in previous Prizma systems, the original negatives were alternate frame sequential exposures. The Prizma negative was printed on both sides of the positive film in a special ...

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The two colors visible at a splice. Credit: EYE Film Institute Amsterdam. Film: [Kleurenpracht].
Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
Credit: George Eastman House Motion Picture Department Collection. Film: The Land of the Great Spirit (1919).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.

399 Images in 14 Galleries

Procédé Colombier

1908

|

F. de Colombier

Subtractive 3 color: Tri-pack

“M. F. de Colombier appears to have been the first to suggest the application of this system to cinematography, and like so many French patents it is a little indefinite in phraseology. Three films were employed representing the same view and ...

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Raycol

1929

|

Anthony Bernardi (Raycol Ltd.)

Additive 2 color: Beam-splitter, sawn-off lens

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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

13 Images in 1 Gallery

Rota Farbenfilm

1931

Subtractive 2 color: Bi-pack, mordant toning

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Rota Farbenfilm Samples (Kodak Film Samples Collection). Credit: National Science and Media Museum Bradford. Photographs of the Rotacolor Prints by Josephine Diecke, SNSF project Film Colors. Technologies, Cultures, Institutions and Joëlle Kost, ERC Advanced Grant FilmColors.

13 Images in 2 Galleries

Rouxcolor 2 color / Cineoptichrome

1932

|

Lucien and Armand Roux

Additive 2 color: Beam-splitter

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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

2 Images

Russian two-color system

1931

|

Nikolai Agokos, Fedor Provorov and Pavel Mershin (Scientific Research Film and Photo Institute NIKFI)

Subtractive two color

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Screenshot from Mayorov, Nikolai (2012): Soviet Colours. Translated by Birgit Beumers. In: Studies in Russian & Soviet Cinema, 6:2, pp. 241–255. doi: 10.1386/srsc.6.2.241_1 Courtesy of Nikolai Mayorov.

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