“Inevitably, the success of Kinemacolor led to the appearance of imitations. One company, Friese Greene Patents Ltd had been formed in 1908 to exploit several patents, mostly impractical, filed by Friese Greene. From this came a new company, Biocolour Ltd, led by Colin Bennett, a former Kinemacolor cameraman. In Brighton in 1911 he began to present films made in a very similar way to those of Kinemacolor, except that instead of using a rotating filter wheel on the projector, the positive films were stained red and green on alternate frames. The Natural Color Kinematograph Company instituted proceedings for infringement of patent rights against Biocolour and for the next three years litigation dragged on.“
(Coe, Brian (1978): Colour Photography – The First Hundred Years 1840-1940. London: Ash & Grant, p. 118.)
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Biocolour 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, SNSF Project Film Colors. Technologies, Cultures, Institutions.
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on p. 38. (in German)
Brown, Simon (2012): Technical Appendix. In: Sarah Street: Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, pp. 259-287, on pp. 264-265.
Brown, Simon (2013): The Brighton School and the Quest for Natural Color. Redux. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 13–22.
Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant, pp. 118-119.