Trucolor 2 color
“By the 1940s, most of the two-colour subtractive processes, apart from Cinecolor, were obsolete. The widespread use of the high-quality Technicolor process showed up the serious deficiencies in the simpler methods. The only significant new process using two-colour reproduction to appear after the Second World War was Consolidated Film Industries’ Trucolor method, used in 1946 for Out California Way and for a number of other films, mostly second features. Bipack negatives were used to make prints on double-coated film, the emulsions of which contained colour couplers. These were substances which reacted with the products of the development process to form a coloured dye, in the position of, and in proportion to, the silver image. By development in a colour-forming developer, the two dye images were formed simultaneously, and the silver image was bleached away to leave transparent dye images. After 1950, Trucolor used the modern colour films, and by 1954 the two-colour process was obsolete and the last printing service was closed down.”
(Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions, p. 129.)
Original Technical Papers and Primary Sources
Fleet, Roe (1948): The Trucolor Process. In: American Cinematographer, March 1948, pp. 79 and 101.
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 43–44. (in German)
Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions, p. 129.
Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall, pp. 353-355.
Limbacher, James L. (1969): Four Aspects of the Film. A History of the Development of Color, Sound, 3-D and Widescreen Films and Their Contribution to the Art of the Motion Picture. New York: Brussel & Brussel 1969, p. 58.
Nowotny, Robert A. (1983): The Way of All Flesh Tones. A History of Color Motion Picture Processes, 1895-1929. New York: Garland Pub., p. 195.
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 109-110 and pp. 148-149.