Select Category▼×
- All Categories
- Bibliography
- Chromogenic monopack
- Chromolytic multilayer
- Color separation
- Double-coated / bi-pack
- Edge Codes and Identification
- Hand coloring
- Other
- Printing / dye-transfer
- Screen processes
- Spatial synthesis (multiple lenses, beam splitter)
- Stencil coloring (pochoir, Pathécolor)
- Temporal synthesis (rotary filters)
- Theory
- Tinting
- Toning
-
![]()
Didone abbandonata (ITA 1910, Luigi Maggi).
Credit: Cineteca di Bologna.
Photographs of the tinted nitrate print by Barbara Flueckiger.
Frame characteristics / features of margins: Ambrosio. Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 24.
91 Images in 6 Galleries
-
![]()
Source: Jacobson, Egbert (1942): The Color Harmony Manual and How to Use It. Chicago: Color Laboratories Division, Container Corp. of America. Credit: Faber Birren Collection, Yale University. Photograph by Barbara Flueckiger.
1 Image
In 1994, Technicolor announced the development of an enhanced dye-transfer process. This process became effective in June 1997. There was no official denomination, so “Technicolor No. VI” is not to be confused with statements from the mid ...
-
![]()
Linear filter structure in Polachrome 35mm instant slide film. The blue filter strips are slightly larger compared to the red and green filters. The filter lines are running along the film strip. According to the image placement of the 135 film format for still photography the image is divided horizontally into triplets of R, G and B filter lines.
The emulsion layer has been removed before the image was taken.
Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
- Linear filter structure in Polachrome 35mm instant slide film with a emulsion layer of low photographic density. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
- Comparision of the linear filter structure of Polachrome 35mm instant slide film and Polavision Super-8 motion picture film. While the technical concept behind the two film stocks is the same, the Super-8 film was produced with linear filters of a smaller width. Based on the given width of an RGB filter triplet and the 135 still image size there are about 920 horizontal RGB-triplets per image for a Polachrome slide. The Super-8 film image is rotated by 90° compared to the 135 film still image and has about 340 vertical RGB-triplets per frame. The positioning of the image content compared to the filter lines is indicated in the picture. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
4 Images in 1 Gallery
Timeline of Historical Film Colors by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Quote as Flueckiger, Barbara (2012 ff.): Timeline of Historical Film Colors. (= https://filmcolors.org/).
Download BibTex