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 / Pigment
- Screen processes
- Spatial synthesis (multiple lenses, beam splitter)
- Stencil coloring (pochoir, Pathécolor)
- Temporal synthesis (rotary filters)
- Theory
- Tinting
- Toning
-
![]()
No masking in the negative. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
4 Images in 1 Gallery
-
![]()
Comparing cross section schemes of different Gevachrome types. Scource: Verbrugghe, R. G. L. (1967): A Sharp Reversal Color Print Film. In: Journal SMPTE, Vol. 76, Dec. 1967, p. 1198.
10 Images in 1 Gallery
“The competition between Kinemacolor and other rival systems was partially stimulated by a Utopian faith in the potential of film technology to achieve ‘natural colour’, reality ‘as it is’ being the goal of the cinematic ...
-
![]()
Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
- Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.
- Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.
12 Images in 2 Galleries
Gasparcolor was the first three-color multi-layer monopack film available for practical use. It was a double-coated print film with a cyan layer on one side and two layers dyed magenta and yellow on the other side (see illustrations).
-
![]()
Uit het rijk der kristallen (NDL 1927?, J.C. Mol). Credit: EYE Film Museum. Photographs of the Dufaycolor and Gasparcolor nitrate print by Barbara Flueckiger.
- Kreise (English title Circles) (Oskar Fischinger, GER 1933-34) Oskar Fischinger's own nitrate print. Credit: Library of Congress, (c) Fischinger Trust, courtesy Center for Visual Music. Photograph Fischinger's own nitrate print by Barbara Flueckiger.
- Credit: (c) Fischinger Trust, courtesy Center for Visual Music. Film: Allegretto by Oskar Fischinger (1936-1943).
- Credit: (c) Fischinger Trust, courtesy Center for Visual Music. Film: Gasparcolor tests by Oskar Fischinger, c. 1933-34.
- Credit: Cinémathèque suisse. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
- Credit: Cinémathèque suisse. © Fischinger Trust, courtesy Center for Visual Music. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
- Credit: Cinémathèque suisse. © Fischinger Trust, courtesy Center for Visual Music. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
- Color chart on Agfa Tripofilm. This was the raw stock used for Gasparcolor in Germany until about 1939. Source: Arens, Hans; Heymer, Gerd (1939): Die „Agfa-Farbentafel für Farbenphotographie“. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, Vol. 6, 1939, pp. 225-229. Leipzig: Hirzel. 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. 213.
398 Images in 24 Galleries
“In 1944 he launched a new reflection printing material on a white-pigmented acetate base called Gasparcolor Opaque, which was, initially and for the duration of the war, available only to the U.S. military. The processing of Gasparcolor Opaque ...
-
![]()
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. 228.
2 Images
“The Fujicolor process is a three-color subtractive negative/positive process introduced in 1955 by the Fuji Photo Film Co., Ltd., Tokyo, Japan.
When the process was introduced it consisted of two elements that could be used singly or together. ...
-
![]()
Don't Look Now (GBR / ITA 1973, Nicolas Roeg). Credit: BFI National Film Archive. Photographs of the faded Fujicolor HP Positive Film Type 8813 by Joëlle Kost, ERC Advanced Grant FilmColors.
141 Images in 7 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 ...
“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.”
-
![]()
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
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