“Gilmore’s two-color additive process was based on a patent granted to F. E. Ives in 1918. A unique optical system exposed two images in pairs, and quarter-turned them lengthwise side by side on standard 35 mm film stock. One of the images was exposed through a red filter, while the other image of the pair was exposed behind a green filter. During projection an optical system similar to that found on the camera was employed. Each half of the image pair was projected through its proper color filter, and the optical system contained several adjustments which turned and superimposed the two images on the screen.
Potential registration problems, the need for a complicated optical attachment to the projector, and the reduced size of the separate images all combined to make Gilmore Color an unattractive color system. The process was apparently never used for commercial production.”
(Nowotny, Robert A. (1983): The Way of All Flesh Tones. A History of Color Motion Picture Processes, 1895-1929. New York: Garland Pub, pp. 131-132.)
Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI, pp. 35-36.
Klein, Adrian Bernhard = Cornwell-Clyne (1940): Colour Cinematography. Boston: American Photographic Pub. Co., 2nd revised edition, p. 151.
Nowotny, Robert A. (1983): The Way of All Flesh Tones. A History of Color Motion Picture Processes, 1895-1929. New York: Garland Pub, pp. 131-132.
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 34.