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Recording of a color video signal onto lenticular film.
- Playback of the color image on the lenticular film as a television signal.
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- Bibliography
- Chromogenic monopack
- Chromolytic multilayer
- Chromolytic single layer
- Color separation
- Direct positive
- Double-coated / bi-pack
- Edge Codes and Identification
- Hand coloring
- Instant dye diffusion
- Other
- Printing / Dye-transfer / Pigment
- Screen processes
- Spatial synthesis (multiple lenses, beam splitter)
- Stencil coloring (pochoir, Pathécolor)
- Temporal synthesis (rotary filters)
- Theory
- Tinting
- Toning
“Kodak Instant Print Film PR-10 was based on a dye release system that used ballasted preformed dyes and reversal emulsion instead of dye developers and negative emulsion. Processing started when the film passed between pressure rollers that ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 242.
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Eastman Kodak reversal film duplication stock for (semi)professional use. Replaced Type 5265. Type 7387 introduced in 1964 as improved version. Difficult to see the difference (BL).
“In October 1935 Eastman Kodak Company introduced Eastman Wash-Off Relief. For years the company had been producing matrices and blank films for Technicolor motion pictures, and Kodak engineers were familiar with the requirement of the dye ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 140.
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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
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Cross section of Ektachrome Commercial, Type 7255. Scource: Groet, N. H./Liberman, M./ Richey, F. (1959): An Improved Professional 16mm Reversal Camera Film. In: JSMPTE, Vol. 68, January 1959, p. 9.
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“In 1981 Eastman Kodak introduced an innovative product, Ektaflex PCT (Photo Color Transfer), which allowed photographers to instantly print enlarged negatives or transparencies. Up to this time only in-camera picture taking had been possible ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 246.
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“Also during the 1990s, William (Bill) Nordstrom started to experiment with a carbon process called Agfa-Proof, a four-color proprietary prepress color proofing system. He founded the EverColor Corporation in El Dorado Hills, California, in ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 96.
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Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
- Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
- Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
- Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
- Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
- Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
- Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
217 Images in 8 Galleries
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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. 70.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.
- Photomicrograph (20x) of a Finlay screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
- Finlay box. Photograph by Barbara Flueckiger.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 40.
9 Images in 1 Gallery
“The launching of a combined version of the product called Finlaychrome was announced in 1931 but was still unavailable three years later; it is unclear if it was ever marketed.28 Instead, it seems that the company produced a viewing screen ...
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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. 235.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 40.
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A chromogenic process based on Agfacolor, see detail page Agfacolor Neu / Agfacolor.
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Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
- Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
- Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
- Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
- Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
- Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
- Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
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NEW!
Soon negative color FOTON daylight films will be available.
FOTONKOLOR NS
roll film 120
FOTONKOLOR NS
roll film 620
FOTONCOLOR NS
roll film 127
FOTONCOLOR NS
35mm (in cartridge)
FOTONCOLOR NS
sheet film
Fotoncolor NS will be possible to expose like 16° DIN, 32 ASA black and white negative film.
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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='5']
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='5']
9 Images in 1 Gallery
“In 1951, when pigment processes were falling into disfavor, Pierre Fresson (1904–1983) of Atelier Fresson developed Fresson Quadrichromy, a four-color printing method based on the monochrome direct carbon process (charbon-satin) that had ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 91.
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“In 1898 William Friese-Greene, a professional portrait photographer by trade, demonstrated in London ‘the first process of true natural-color cinematography.’ His program consisted of ‘a series of animated natural-color pictures,’ and although this demonstration aroused considerable interest at the time, Friese-Greene was unable to exploit this system on a profitable basis. Undaunted, he eventually developed a total of four different color methods.”
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Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Kino the Girl of Colour (GB 1920, William Friese-Greene, Claude Friese-Greene).
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
112 Images in 2 Galleries
“Around 1975, Fuji Photo Film Company introduced Fuji Dyecolor, a dye imbibition printing service available only in Japan. A feature of the process was that the transfer of the dyes was done automatically in a special rotary machine developed ...
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/).
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