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Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
- Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
The first subtractive 2 color process introduced by Technicolor captured the incoming light through a beam splitter with red and green filters also. However, in contrast to the first Technicolor process, the two b/w images were recorded on one negative strip. This was achieved by the pull-down of two frames simultaneously, a process that required the double speed in the camera. These two frames were arranged in pairs, whereby the green record was inverted up-side down (see image).
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.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Magnification of an image 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.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
The Phantom of the Opera (USA 1925, Rupert Julian). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.
Knowing Men (GB 1930, Elinor Glyn), negative. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger.
Magnification, 20x. Credit: photomicrograph by Silvana Konermann.
Strange Birds (US 1930, Mack Sennett). Credit: Library of Congress. Photograph of the nitrate print: Barbara Flueckiger
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.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
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.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
The two colors visible at a splice. Credit: EYE Film Institute Amsterdam. Film: [Kleurenpracht].
Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.
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: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Iridescence on Multicolor print, reflection properties. Credit: Library of Congress. Photograph by Barbara Flueckiger
Mysore Yesterday and Tomorrow Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph: Barbara Flueckiger.
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.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)
Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
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, p. 67.
Russian Ideas in Clothes! (USA 1922). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. A History of Motion Picture Color Technology.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions. Film: Pagliacci (1937).
Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger.
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Dyes of Brewster color. Credit: Brian Pritchard.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.