Sirius

1929

|

Ludwig Horst (Sirius Kleuren Film Maatschappij)

Subtractive 2 color: Beam-splitter, double-coated

“The Dutch Sirius Color process (1929) used a camera with a beamsplitting system behind the lens to expose a single film, the film passing through two gates at right angles to each other. The double-coated print film was dye-toned. The process ...

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Magnification, 20x. Credit: photomicrograph by Silvana Konermann.
Magnification, 10x. Credit: Photomicrograph by Silvana Konermann.
Magnification, 5x. Credit: Photomicrograph by Silvana Konermann.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Reflection on the Sirius film, front. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Reflection on the Sirius film, back. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.

142 Images in 4 Galleries

Duxochrome / Colorstil / Duxocolor

1929

|

Johannes Herzog Company

Subtractive 3 color: pigment process, still photography

“Duxochrome, introduced around 1930 by the Johannes Herzog Company of Bremen, Germany, combined the colored gelatin layers of pigment processes with the tanning development procedure of dye imbibition. Exposures from three separation negatives ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 106.

1 Image

Colorsnap, Colorol

1929

|

Colour Snapshots Ltd.

Subtractive 3 color: dye imbibition process, still photography

“In 1929 the London firm Colour Snapshots Limited introduced Colorsnap, a printing service based on the dye imbibition process for a tripack roll film called Colorsnap and manufactured by Ilford Ltd. (Monopolies Commission 1966).11 The tripack ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 137.

1 Image

Harriscolor

1929

|

J.B. Harris, Jr.

Subtractive 2 color: Beam-splitter, single-coated

“Harriscolor In this method as in other methods of color photography, independent color value negatives are first obtained. The Harriscolor process can employ one of the following two methods: Either a camera wherein the dividing light prisms ...

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Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.

3 Images

Agfa bipack films

1929

|

(Agfa)

Subtractive 2 color: Bi-pack

AGFA BIPACK FILM The front film is orthochromatic and sensitive, therefore, to green and blue. The rear film is panchromatic and records red-orange only, there being a red-orange filter on the orthochromatic emulsion. In fact, this is a bipack of the ...

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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

11 Images in 1 Gallery

Kislyn color

1930

|

(Kislyn Corporation)

Additive 3 color: Lenticular screen

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Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.

1 Image

Vitacolor

1930

|

(Vitacolor Company)

Subtractive 2 color: Single coated

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DuPont Vitacolor

1930

|

(Max B. DuPont)

Additive 2 color: Rotary filter, 16mm

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Brewster

1930

|

Percy Douglas Brewster (Brewster Color Film Corp)

Subtractive 2 or 3 color: Perforated mirror as beam-splitter, duplitized film

“The Brewster Process. (U.S.P. 1,752,477. 1930-) Camera. – P. D. Brewster, an American inventor, who was one of the first to apply the bipack system to colour cinematography, has a number of patents to his credit covering various cameras and ...

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Dyes of Brewster color. Credit: Brian Pritchard.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

52 Images in 1 Gallery

Gualtierotti or Cicona e Gualtierotti

1930

|

Gualtiero Gualtierotti, Società Cicona

|

Italy

Additive two-color: optical system, filters, 64mm negative.

Unlike other additive systems invented in previous years, Gualtierotti tried to avoid the phenomenon of chromatic aberration inherent in the use of multiple lenses or the creation of successive separation records. The proposed solution was based on ...

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Rotating filters permitting to adjust tonality and intensity of the colors. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 62

1 Image

Allfarbenfilm

1930

Additive 3 color: Beam-splitter, substandard

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Audibert

1930

|

Maurice Audibert

Addtive 3 color: Beam-splitter, mosaic screen, 65 mm

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Credit: Cinémathèque française, conservatoire des techniques, Paris.

3 Images

Photocolor

1930

|

(Photocolor Corp.)

Subtractive 2 color: Beam-splitter, double-coated

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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.

42 Images

Sennett Color

1930

|

(Sennett Laboratories)

Subtractive 2 color: Bi-pack, double coated, toned

“Public showings of the work done at this plant in Hollywood have been given to Los Angeles audiences. The release prints are made on double sided film. Both sides are developed at one time and then toned red on one side and bluegreen on the ...

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Strange Birds (US 1930, Mack Sennett). Credit: Library of Congress. Photograph of the nitrate print: Barbara Flueckiger
Magnification. Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Strange Birds (1930)

18 Images in 1 Gallery

Ufacolor

1931

|

Kurt Waschneck (Afifa)

Subtractive 2 color: Bi-pack, mordant toning

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Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Color chart. Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Tierwelt. Studien in Hagebecks Tierpark in Stellingen (1931).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
Credit: Bundesarchiv-Filmarchiv, photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Fischwelt (1936).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
Credit: Deutsches Filminstitut DIF (Vicas Nachlass), photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Potsdam (1934).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Farben machen froh (1938).
Magnification 5x. Credit: photomicrograph by Silvana Konermann.
Magnification 10x. Credit: photomicrograph by Silvana Konermann.
Magnification 20x. Credit: photomicrograph by Silvana Konermann.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Reflection on Ufacolor film. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
An opened splice of an Ufacolor positive shows the two colors used in the process. Credit: David Pfluger. Source: David Pfluger’s collection.

136 Images in 7 Galleries

Lumière Filmcolor

1931

|

Lumière Company

Additive 3 color: mosaic screen, combined system, still photography

“Lumière Filmcolor (1931–1953): sheet films (only) on celluloid base (Fig. 2.69). Individual colored grains cannot be seen with the naked eye, but clumps of grains of the same color give the image a pointillist effect. Filmcolor starch ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 74.

1 Image

Chimicolor

1931

|

R. Valette (Syndicat de la Cinématographie des Couleurs)

Subtractive 3 color: Beam-splitter, double-coated film, mordant toning

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

2 Images

Magnacolor

1931

|

(Consolidated Laboratories)

Subtractive 2 color: Bi-pack, double-coated

“An American two-colour subtractive process still worked by the Consolidated Film Industries division of Republic Pictures Corporation. This concern was licensed by the owners of the “Prizma” patents, which it will be remembered was ...

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Mysore Yesterday and Tomorrow Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph: Barbara Flueckiger.

23 Images in 2 Galleries

Rotocolor

1931

|

Harold Muller

Additive 2 color: Rotary filter

“The Rotocolor process was an additive system for color cinematography. The process was announced in 1931 by H. Muller. According to an article in Film Daily, April 12, 1931, and The Motion Picture Herald, April 11, 1931, the process consisted of ...

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Russian two-color system

1931

|

Nikolai Agokos, Fedor Provorov and Pavel Mershin (Scientific Research Film and Photo Institute NIKFI)

Subtractive two color

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Screenshot from Mayorov, Nikolai (2012): Soviet Colours. Translated by Birgit Beumers. In: Studies in Russian & Soviet Cinema, 6:2, pp. 241–255. doi: 10.1386/srsc.6.2.241_1 Courtesy of Nikolai Mayorov.

1 Image

Coloratura

1931

|

(Pathé Exchange)

Subtractive 2 color: Bi-pack, dupitized positive, toned

“Coloratura. This is the process of Pathé Exchange at Bound Brook, N. J. Negatives are made by the bi-pack method. Prints are made on double-sided film and are dye-toned on one side and metallic-toned on the other. The double-sided film, ...

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Magnachrome

1931

|

Roy Hunter (Universal Films)

Additive 2 color: Bi-pack, half-size

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Rota Farbenfilm

1931

Subtractive 2 color: Bi-pack, mordant toning

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Rota Farbenfilm Samples (Kodak Film Samples Collection). Credit: National Science and Media Museum Bradford. Photographs of the Rotacolor Prints by Josephine Diecke, SNSF project Film Colors. Technologies, Cultures, Institutions and Joëlle Kost, ERC Advanced Grant FilmColors.

13 Images in 2 Galleries

DuChrome

1931

Additive: spatial synthesis

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Agfacolor lenticular / Agfacolor Linsenrasterfilm

1932

|

Gerd Heymer and John Eggert (IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Additive 3 color: Lenticular screen

The basic idea of the lenticular film was developed by the German Raphaël Liesegang in 1896 and applied to still photography by the French Rodolphe Berthon in 1908. The lenticular process applies tiny cylindrical lenses embossed on the film support ...

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Color reconstruction. Credit: Gisela Harich-Hamburger, Diplomrestauratorin (FH).
Source: Heymer, Gerd (1933): Auflösungsvermögen und Farbwiedergabe in der Farbrasterphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, 3, 1933, pp. 188-207.
Source: Weil, F. (1933): The Optical-Photographic Principles of the Agfacolor Process. In: Journal of the Society of Motion Picture Engineers, 20, (April, 1933), No. 4, p. 301-308.
Both the Kodak and Agfa lenticular processes required the correct banded filter to be used with each different batch of panchromatic film. These two filters were for different batches of Agfacolor used in a Leica camera.. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
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.
Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
Magnification 5x, front. Credit: photomicrograph by Silvana Konermann.
Magnification 10x, back. Credit: photomicrograph by Silvana Konermann.
Magnification 20x, front. Credit: photomicrograph by Silvana Konermann.
Reflection on Agfacolor lenticular film. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Reconstruction of lenticular film by Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland in the framework of their research project doLCE
Agfacolor Lenticular sample 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.
Analog reconstruction by Giorgio Trumpy, ERC Advanced Grant FilmColors

15 Images

Cinecolor (subtractive 2 color)

1932

|

William T. Crespinel (Cinecolor Corporation)

Subtractive 2 color: Bi-pack, duplitized film

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Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Reflection on Cinecolor print. Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph by Barbara Flueckiger
Reflection on Cinecolor 16 mm print. Credit: Library of Congress. Photograph by Barbara Flueckiger

93 Images in 9 Galleries

Roncarolo

1932

|

Emilio Roncarolo

|

Italy

Subtractive 2, 3 or 4 color: Beam-splitter and bi-pack, later dye-transfer

The Roncarolo system required a camera capable of recording two panchromatic negatives (which became three or four in subsequent patents) through the use of a beam splitter and red and green filters. The chromatic information registered on the two or ...

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Rouxcolor 2 color / Cineoptichrome

1932

|

Lucien and Armand Roux

Additive 2 color: Beam-splitter

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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.

2 Images

Agfacolor Plate

1932

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“Agfacolor Plate (1932-1938): colored particles very small and not visible to the naked eye; clumps of particles of the same color give the image a pointillist effect (Fig. 2.63). Unlike with the autochromes, in which the grains are remarkably ...

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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. 72.

1 Image

Chemicolor / Ufacolor in GB

1932

Subtractive 2 color: Bi-pack, mordant toning

“Chemicoior was the name under which the German Ufacolor Process was marketed in Britain. Ufacolor was also marketed under the name Spectracolor. The process used Agfa bipack negatives loaded with the emulsion sides facing and separated by a ...

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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions. Film: Pagliacci (1937).

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