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    123 Results


    Gallery | (37 images)

    Farbfilmtechnik (1943)

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    Eastman Kodak Company (1927): Tinting and Toning of Eastman Positive Motion Picture Film. Rochester, NY: Eastman Kodak, on pp. 32–34.

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    Z (1967): Die Bearbeitung von Sendekopien in Farbe. In: Filmtechnikum, 18,7, pp. 190–191. (in German)

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    Z (1967): Die Bearbeitung von Sendekopien in Farbe. In: Filmtechnikum, 18,7, pp. 190–191. (in German)

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    Forrest, John L. (1958): 16mm Super Anscochrome Films. In: Journal of the Society of Motion Picture and Television Engineers, 67,10, pp. 691–693.

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    Forrest, John L. (1958): 16mm Super Anscochrome Films. In: Journal of the Society of Motion Picture and Television Engineers, 67,10, pp. 691–693.

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    Duerr, H.H.; Harsh, H. C. (1946): Ansco Color for Professional Motion Pictures. In: Journal of the Society of Motion Picture and Television Engineers, 46,5, pp. 357–367.

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    Duerr, H.H.; Harsh, H. C. (1946): Ansco Color for Professional Motion Pictures. In: Journal of the Society of Motion Picture and Television Engineers, 46,5, pp. 357–367.

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    Koshofer, Gert (1988): Color. Die Farben des Films. Berlin: Wissenschaftsverl. Volker Spiess, on p. 114. (in German)

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    Ashton, George (1954): Exposing Ferraniacolor Daylight Type Film by Artificial Light. In: The British Journal of Photography, 101, Mar., p. 129.

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    Wilson, W. H. (1954): Letters to the Editor. Ferraniacolor in Artificial Light. In: The British Journal of Photography, October 1954, p. 518.

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    Brauer, Egon (1964): Frühjahrsmesse 1964 Leipzig. In: Bild und Ton, 17,5, pp. 144–150, on pp. 148–149. (in German)

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    Almendros, Nestor (2000): Days of Heaven. Terrence Malick. 1976. In: John Orr and Olga Taxidou (eds.): Post-War Cinema and Modernity. A Film Reader. Edinburgh: Edinburgh University Press, pp. 234–246, on pp. 242–246.

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    Almendros, Nestor (1979): Photographing Days of Heaven. In: American Cinematographer, 60,6, pp. 562–565, 592–594, 626–632, on pp. 630–631.

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    Forrest, John L. (1958): 16mm Super Anscochrome Films. In: Journal of the Society of Motion Picture and Television Engineers, 67,10, pp. 691–693.

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    Duerr, H.H.; Harsh, H. C. (1946): Ansco Color for Professional Motion Pictures. In: Journal of the Society of Motion Picture and Television Engineers, 46,5, pp. 357–367.

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    Vanlint, Derek (1979): “Alien” and its photographic Challenges. In: American Cinematographer, 60,8, pp. 768–771, 806, 812–813, on pp. 806, 812.

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    Vanlint, Derek (1979): “Alien” and its photographic Challenges. In: American Cinematographer, 60,8, pp. 768–771, 806, 812–813, on pp. 768–769.

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    Harrell, Al (1984): The Making of A Star is Born. In: American Cinematographer, 65,2, pp. 34–37, on pp. 35–36.

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    Street, Sarah; Watkins, Liz (2013): Interview. Christopher Challis. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 10–30.