Douglass Color No. 1

1916

|

Leon Forrest Douglass

Additive 2 color: Rotary filter

“This two-color additive system for color cinematography was invented in 1916 by Leon Forrest Douglass of San Rafael, California. A special beam splitter camera would advance each roll of film two frames per exposure with its double frame pull down ...

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Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press. Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press. Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.

3 Images

Douglass Color No. 2

1919

|

Leon Forrest Douglass

Subtractive 2 color: Separations, multi-layer prints

“Douglass Color No. 2 (1919). The two negatives of the Douglass Color system No. 1 were printed on a positive. In this updated version of the process, rather than projecting the frames through red and green filters, both latent images were ...

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DuChrome

1931

Additive: spatial synthesis

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Dufay / Dioptichrome Plate (sometimes incorrectly referenced as Dioptochrome)

1908

|

Louis Dufay (Société Anonyme des Plaques et Produits Dufay)

Additive 2-4 color: Line screen plate (réseau), still photography and early experiments with film

(see detail page on Dufaycolor)

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Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press,
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 71.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 31.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 32.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 33.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 48.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.

10 Images

Dufaycolor

1933

|

Louis Dufay, Thomas Thorne Baker and Charles Bonamico (Dufaycolor Ltd., later Dufay-Chromex)

Additive 3 color: Line screen (réseau), 35 mm and 16 mm, reversal and negative-positive stock

Dufaycolor was a regular line screen process whereby the incident light was filtered through a pattern of tiny color patches created by lines in red, green and blue, the so called réseau.

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Reversal Colour Positive. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: A Colour Box (GB 1935, Len Lye).
Microscopic image of the filter structure of a Dufaycolor film. The Emulsion has been removed. The visible structures are not silver grain but the structure of the filter layers. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Microscopic images of Dufaycolor film with the focus set at different points within the emulsion and filter layers. The images have been chained to show a travelling through the 3-dimensional structure of the layers. Credit: David Pfluger, conversion to video by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

231 Images in 9 Galleries

Dufaycolor reversal

1938

|

Louis Dufay, T. Thorne Baker and Charles Bonamico (Dufay-Chromex)

Additive 3 color: Line screen (réseau), 16 mm, reversal

(see detail page on Dufaycolor)

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Dugromacolor

1952

|

Roger Dumas, Georges Grosset and André Marx

Additive 3 color: Beam-splitter, substandard

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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.

1 Image

Dunning Color

1937

|

Carroll H. Dunning

Subtractive 3 color: Beam-splitter, double-coated

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DuPont Color Film Type 275

1949

|

(E.I. Du Pont de Nemours)

Subtractive 3 color: Color release positive stock, multilayer monopack

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
Source: Sease, V. B. (1949): DuPont's New Color Film. In:American Cinematographer, 30: 240, 257-258.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Sease, V. B. (1949): DuPont's New Color Film. In:American Cinematographer, 30: 240, 257-258.

8 Images in 1 Gallery

DuPont Stripping Negative

1949

|

( E. I. DuPont Company)

Subtractive 3 color: Stripping film

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

2 Images

DuPont Vitacolor

1930

|

(Max B. DuPont)

Additive 2 color: Rotary filter, 16mm

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Dye coupling

1907

|

Benno von Homolka (Farbwerke Hoechst)

Subtractive 3 color: Chromogenic monopack

“One of the most elegant solutions to the problem of forming a colored image, lies in the utilization of the products formed by the action of the developer upon the latent image. By this means there is formed a dye image whose intensity follows ...

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Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 161.

1 Image

Dye Imbibition Process

1875

|

Ernest Edwards

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson.

1 Image

Dymat Process

1973

|

(Dymat International Corp.)

Subtractive 3 color: Dye transfer, Super-8

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Dynachrome

1959

Subtractive 3 color: Chromogenic monopack, small gauge, double 8

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Eastman Color

1950

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack

“The Eastman Colour Films are multilayer films of the type in which the layers are not separated after exposure. Films of this class are known as Multilayer, Monopack or Integral Tripack. “Multilayer” is descriptive not only of this ...

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Alien (USA 1979, Ridley Scott). Credit: Library of Congress. Photographs of the Eastman Color Print Film from 1979 by Joëlle Kost, ERC Advanced Grant FilmColors.
Photomicrograph of modern chromogenic stock, . Credit: Silvana Konermann.
Eastman Color chromogenic monopack. Source: Craig, G.J. (1953): Eastman Colour Films for Professional Motion Picture Work. In: British Kinematography, 22,5, 1953, pp. 146-158.
Color fading of Eastmancolor stock. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany). Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin: Springer.
Color reconstruction by Rudolf Gschwind, University of Basel. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
Color fading of Eastmancolor stock.
Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.

707 Images in 23 Galleries

Eastman Color High Speed Negative Film 7292

1985

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color High Speed Negative, type 5293

1981

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA, DIR coupler

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Eastman Color High Speed Negative, type 5294

1983

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 400 ASA, DIR coupler

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Eastman Color High Speed Negative, type 5295 / 7295

1987

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

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Eastman Color High Speed Negative, type 5297

1987

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Eastman Color II Internegative Film 5272 / 7272 S

1980

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color II Negative, type 5247 / 7247

1974

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA, DIR coupler

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Eastman Color II Negative, type 5247 / 7247 F

1980

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Intermedeate Film 5253

1956

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Intermediate Film 2244

1992

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Intermediate Film 5253 / 7253

1968

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Internegative Film 5243

1952

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Internegative Film 5245

1953

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Internegative Film 5270 / 7270

1956

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Internegative Film 5271 / 7271

1968

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color LC Print Film 5380 / 7380

1983

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color LC Print Film 5385 / 7385

1993

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color LF Print Film 7378

1979

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Color LFSP Film 7379

1979

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Color Negative Film 7291

1983

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Eastman Color Negative, ASA 125, type 5247

1983

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 125 ASA, DIR coupler

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Eastman Color Negative, type 3251

1967

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack

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Eastman Color Negative, type 5247

1950

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, daylight, 16 ASA

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Eastman Color Negative, type 5248

1953

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 25 ASA

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Cross section scheme of Eastman Color Type 5248. Scource: Hanson, W. T., Jr.; Kisner, W. I. (1953): Improved Color Films for Color Motion-Picture Production. In: Journal SMPTE, Vol. 61, Dec. 1953, p. 699.

1 Image

Eastman Color Negative, type 5250

1959

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 50 ASA

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Cross section scheme of Eastman Color Negative, Type 5250. Scource: Dundon, Merle L./Zwick, Daan M. (1959): A High Speed Color Negative Film. In: JSMPTE Vol 68, p. 736.

1 Image

Eastman Color Negative, type 5251

1962

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 50 ASA

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Eastman Color Negative, type 5254 / 7254

1966

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Eastman Color Print Film 5281 / 7281

1950

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 5381 (1950)

1950

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

Not to be confused with the Eastman Color Print Film 5381 / 7381 from 1970.

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Eastman Color Print Film 5381 / 7381 (1970)

1970

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

Not to be confused with the Eastman Color Print Film 5381 from 1950.

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Eastman Color Print Film 5382 / 7382

1953

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 5384 / 7384

1981

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 5385 / 7385

1962

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 5744

1967

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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