Agfacolor Neu / Agfacolor

1936

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Wilhelm Schneider and Gustav Wilmanns (IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, reversal (from 1936), negative/positive process (from 1939)

“The New Agfacolor Process; Agfa Ansco Corp., Binghamton, N. Y. A survey of the history of monopack or multilayer photographic color processes is given, including the coloring methods of greatest importance at the present time. These are: (a) ...

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Münchhausen (Josef von Báky, Germany 1943). Credit: Bundesarchiv Filmarchiv and Friedrich-Wilhelm-Murnau-Stiftung. Photographs of the Agfacolor safety print (acetate) by Barbara Flueckiger.
Opfergang (GER 1944, Veit Harlan), magnification. Credit: Print from the Filmmuseum Düsseldorf. © Friedrich Wilhelm Murnau Foundation, Wiesbaden. Photograph by Barbara Flueckiger.
Paper print. Source: Serda, Charlott (1941): Das Farbfoto-Buch vom Film. Breitkopf & Härtel: Leipzig.
Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.
Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.

640 Images in 21 Galleries

Hirlicolor

1936

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George Hirlimann

Subtractive 2 color: Bi-pack

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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)

2 Images

Russian three-color process

1936

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Pavel Mershin (Mosfilm), Fedor Provorov (NIKFI) and Avenir Min (Leningradskii zavod kino-apparatury, Leningrad Film Factory LenKinAp)

Subtractive three color

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Zaveshchanie/The Testament (7 June 1937). Credit: Courtesy of Nikolai Mayorov.
Zaveshchanie/The Testament (7 June 1937). Credit: Courtesy of Nikolai Mayorov. Credit: Courtesy of Nikolai Mayorov.
The Miraculous Traffic Light (1938). Credit: courtesy of Nikolai Mayorov
The Wolf and Seven Goat-Kids (1938). Credit: Courtesy of Nikolai Mayorov.
The Fox and the Wolf (1937). Credit: Courtesy of Nikolai Mayorov.
The Fox and the Wolf (1937). Credit: Courtesy of Nikolai Mayorov.

6 Images

Berthon-Siemens / Siemens-Berthon / Siemens-Perutz-Verfahren / Opticolor

1936

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Rodolphe Berthon (Siemens &. Halske AG)

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.
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.
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.
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='6']

5 Images

Dunning Color

1937

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Carroll H. Dunning

Subtractive 3 color: Beam-splitter, double-coated

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Telco color subtractive 2 color

1938

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Leon Ungar and K. R. Hoyt

Subtractive 2 color: Split optics, side by side, duplitized film

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Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

1 Image

Dufaycolor reversal

1938

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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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Kodachrome Color Reversal Film Type 5262

1938

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(Eastman Kodak)

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USA

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

Although Kodachrome 16mm reversal film was introduced as an amateur film format, rapidly after its introduction it became a format frequently used by (semi-)professional film makers. The reason was that Kodachrome was a relatively easy to use film ...

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Pantachrom

1938

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John Eggert and Gerd Heymer (Agfa)

Subtractive 3 color: Bi-pack and lenticular film recording, duplitized film with toning and silver dye-bleach

“In October, Eggert of the Agfa Research Department, read a paper at the Berlin meeting of the Deutsche Gesellschaft für photographische Forschung, on the Pantochrom subtractive lenticular bipack tricolor process. (Fig. 1) The green and blue ...

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Agfa Pantachrom. 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 Martin Weiss, ERC Advanced Grant FilmColors.

19 Images in 3 Galleries

Agfacolor Negative type G

1940

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(IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

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Germany

Subtractive 3 color: Chromogenic monopack, Tungsten

Agfacolor Negative type G was a chromogenic camera negative balanced for Tungsten illumination.

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Original Agfacolor negative G. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Neposlušný zajíček (German title Klein, aber Oho!, Horst von Möllendorff, Czechoslovakia 1944).
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']

14 Images in 2 Galleries

Iriscolor

1940

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Franz Noack, Georg Muschner, Gotthardt Wolf (MWN-group)

Subtractive 3 color: Beam-splitter camera, imbibition printing

Similar to Technicolor, the Iriscolor process needed a special beam-splitter camera for exposing three black-and-white negatives on Kodak film stock. These negatives were used for imbibition printing. Between 1940 and 1942, Tobis Tonbild-Syndikat AG ...

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Kodachrome Color Reversal Film 5265

1940

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

Duplicating stock for reversal film. Replaced Kodachrome duplicating stock type 5262. Contrary to its predecessor the new stock was not suited as camera material. Type 5265 could only be used for duplication.

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Technicolor Monopack / Kodachrome Professional Type 5267 / Eastman Monopack 7267

1940

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(Technicolor / Kodak Eastman)

Subtractive 3 color: Chromogenic monopack

During the 1940s Kodachrome was used as camera material for films that were blown up to 35mm Technicolor projection prints. Technicolor used this technology from 1942 until the mid-1950s when Eastman Kodak introduced the Eastmancolor ...

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Agfacolor Negative type B

1940

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(IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, daylight

For more information on the Agfacolor process see the detail page Agfacolor Neu / Agfacolor.

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Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borský).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borský).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, dir. Jiří Trnka).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, Jiří Trnka).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, Jiří Trnka).
Credit: By courtesy of Deutsche Kinemathek, Berlin. Photograph by Barbara Flueckiger. Film: 1/50 Sekunde, commercial for Niggemeyer Foto/Kino (1952).
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']

21 Images

Agfacolor Negative type B2

1941

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(IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, daylight

For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.

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Agfacolor B negative on Agfacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Tábor (Oldřich Mirad, Czechoslovakia 1953). Photograph by Barbara Flueckiger.

37 Images in 2 Galleries

Agfacolor Negative type G2

1941

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(IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, Tungsten

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Gaspar Color subtractive 2 color

1941

Subtractive 2 color: Silver dye-bleach

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Kodachrome Professional Film Type 5267

1942

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm 35mm?

Kodachrome Professional was introduced in 1942 to be used as camera material. It was the Kodachrome material that was blown up to 35mm Technicolor dye transfer prints, which was the Technicolor Monopack system. According to Norris Pope this material ...

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Fullcolor

1942

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L. S. Trimble (Trimble Laboratories)

Subtractive 2 colors: Bi-pack, duplitized film

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Ansco Color Printon

1943

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 167.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 166.

2 Images

Sovcolor negative film type B

1945

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(Agfa Wolfen GDR, from 1948 GUKP, USSR)

Subtractive 3 color: Chromogenic monopack, daylight

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Skleněné varhany (Stěklanna je garmonika, Andrej Chržanovskij, USSR 1968). Credit: Národní filmový archiv / National Film Archive, Prague. Photograph by Barbara Flueckiger

15 Images in 3 Galleries

Sovcolor negative type G

1945

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(Agfa Wolfen GDR, from 1948 GUKP, USSR)

Subtractive 3 color: Chromogenic monopack, Tungsten

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Sakuracolor

1946

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(Konishiroku Photo Industry Co)

Subtractive 3 color: Chromogenic monopack, reversal

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British Tricolour / Dufaychrome

1946

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Jack Coote (Dufay-Chromex Ltd.)

Subtractive 3 color: Beam-splitter, three-strip, multiple printing

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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.
Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.

19 Images in 3 Galleries

Svema LN-1

1946

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Ansco Colorpak / Ansco Color, type 735

1946

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal 35 mm, 12 ASA

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Kodachrome Commercial Type 5268

1946

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

In 1946 Kodachrome Commercial camera film Type 5268 was introduced. This stock had a lower-contrast emulsion and became leading in the professional field until it was replaced by Ektachrome Commercial type 7255 in 1958. Both Commercial Kodachrome and ...

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Konicolor

1946-1959

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Konishiroku Photo Industry Co., Ltd

Subtractive 3 color

“The Konicolor system, introduced by Konishiroku Shashin Kogyo (Now Konica Minolta Holdings, Inc.), split the image into three colors and shot them separately onto three b&w films. In that sense it had something in common with the US ‘Technicolor system’, but this was not a contact print with color dye to create positive film, but used coated emulsion to develop each color in a triple process, which is peculiar. […].”

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Ansco Color Duplicating Film, type 132

1946

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

See Ansco Color, type 735.

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Ansco Color Release Film, type 732

1946

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

See Ansco Color, type 735.

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