Gaumont Chronochrome

1912

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Léon Gaumont (Gaumont)

Additive 3 color: Sawn-off lenses and filters, simultaneous taking and projection

“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 ...

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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

Gevachrome

1966

|

(Agfa-Gevaert)

Subtractive 3 color: Chromogenic monopack, reversal 16mm

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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

Gevacolor Negative

1948

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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No masking in the negative. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).

4 Images in 1 Gallery

Gevacolor Positive Film T 9 53

1958

|

(Gevaert Photo-Produkten N.V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Positive Film T 9 54

1968

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Print Film T 9 85

1971

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Print Film T 9 86

1974

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 51

1948

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 52

1954

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 53

1958

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 54

1964

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 55

1968

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 80

1974

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 82

1978

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevaert Positif Color

1925

|

(Gevaert Photo-Produkten N. V )

Applied colors: Pretinted film

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Gilmore Color

1918

|

Frederic Eugene Ives and Otto C. Gilmore

Additive 2 color: Rotary filter

“Gilmore’s two-color additive process was based on a patent granted to F. E. Ives in 1918. A unique optical system exposed two images in pairs, and quarter-turned them lengthwise side by side on standard 35 mm film stock. One of the images was ...

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Source: U.S.P. 1,262,954 (Ives, Frederic Eugene; filed Feb. 18, 1914; granted Apr. 16, 1918)

1 Image

Gorsky Process

1921

|

Prof. Gorsky and R. G. Booth (Manager of Messrs. Gaumont's Scottish branch)

|

France / Scotland

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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

Hand coloring

1895

|

(technique inherited from lantern slides)

Applied colors: Manual application

Coloring of individual frames by the use of very fine brushes. The process was previously applied to lantern slides. Any water based translucent dye was suited for the process, most often the coloring was done with acid dyes.

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Loïe Fuller (FRA 1905, Anonymous). Credit: BFI National Archive. Photographs of the hand colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Métamorphoses du papillon (FRA 1904, Gaston Velle). Credit: Library of Congress. Photograph of the nitrate prints by Barbara Flueckiger.
Credit: Turconi Collection by courtesy of George Eastman Museum, Moving Image Collection. Film: Zara.
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

250 Images in 18 Galleries

Handschiegl / DeMille-Wyckoff / Wyckoff Process

1916

|

Max Handschiegl and Alvin Wyckoff

Applied color: Imbibition

Similar to stenciling, the Handschiegl process was applied mechanically to manually defined image parts. Therefore it is an applied color process. After the film was shot and edited, for each color applied a separate print was made. In contrast to ...

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Black-and-white with Handschiegl in Lights of Old Broadway (USA 1925, Monta Bell). Credit: Library of Congress. Photograph of the nitrate print by Barbara Flueckiger.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI. Film: Greed (USA 1925, Erich von Stroheim).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 24.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).

141 Images in 8 Galleries

Harmonicolor

1935

|

Maurice Combes

Subtractive 2 color: Bi-pack, double-coated

“Harmonicoior was developed by French chemist Maurice Combes. It was first formally demonstrated in London by Harmonicoior Films Ltd, of 4 Great Winchester Street, on the 23 March 1936 at the Curzon Soho with the film Talking Hands, produced at ...

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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

Hérault Trichrome

1926

|

A. H. A. Hérault (Société Française des Films Hérault)

Additive 3 color: Alternately stained in red, green and blue

“The Hérault Trichrome process was demonstrated in Paris on 1 October 1926, with three films made by A. Rodde — a fashion show, a documentary on Brittany and a tableau of the Legend of the King of Ys. Hérault Trichrome was an extension of ...

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Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger.

12 Images in 1 Gallery

Hillman Process

1933

|

A.G. Hillman (Colourgravure Ltd., and Gerrard Industries Ltd.)

Additive 3 color: Rotary filter, mirror system with two lenses

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. 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: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

3 Images

Hirlicolor

1936

|

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

Horst

1924

|

Ludwig Horst senior

Additive 3 color: Beam-splitter, 65 mm negative

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

4 Images in 1 Gallery

Hydrotypie / Hydrotype / dye transfer

1880

|

Charles Cros

Subtractive 3 color: Dye transfer, still photography

“In the imbibition process, a dye image is transferred from a gelatin relief image to a receiving layer made either of paper or film. Charles Cros described this method of “hydrotypie” transfer printing in 1880 and suggested it ...

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Indu Colour

1967

|

(Hindustan Photo Films Manufacturing Co.)

Subtractive 3 color: Chromogenic monopack

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Cross section of Inducolor-print, leader only, title unknown. Credit: Carsta Knaack, HTW Berlin.
Leader of print, title and age unknown. Credit: Carsta Knaack, HTW Berlin.

2 Images

Iriscolor

1940

|

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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Irix-Farbenfilm

1933/34

|

Richard Gschöpf, Karl Pokorny

|

Austria

Subtractive three-color process: imbibition

Three matrices in the subtractive primary colors are printed on the gelatin of the final print. Supposedly, the used dyes were particularly fast and able to prevent color bleeding. Pokorny started working on color cinematography in the 1920s, often ...

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Isensee

1897

|

Hermann Isensee

Additive 3 color: Rotary filter

“The first patent that has been found was granted to H. Isensee and he placed in front of the lens, both in taking and projection, a rotary shutter with three 120 degrees sectors in the usual colors.” (Wall, E.J. (1925): The History of ...

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Source: D.R.P. 98,799, Dec. 17, 1897
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: D.R.P. 98,799, Dec. 17, 1897

2 Images

Joly

1896

|

John Joly

Additive 3 color: Line screen process, still photography

“In 1894 Professor John Joly of Dublin patented a process for producing a screen of red, green and blue-violet lines by ruling them on a gelatin-coated glass plate. Joly used ruling machines of great accuracy, with drawing pens trailed across ...

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Photomicrograph (20x) of a Joly screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
Credit: Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San Anselmo, CA.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 22.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 23.

7 Images

Jumeaux/Davidson

1903

|

Benjamin Jumeaux and W. L. Davidson

Additive 3 color: Prism

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.

2 Images

Katachromie

1905

|

Karl Schinzel

Subtractive 3 color: Monopack silver dye-bleach, still photography

Karl Schinzel proposed a multi-layered monopack for still photography, based on the principle of the dye-bleach process which was later elaborated to a practical application with Gasparcolor.

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Keller-Dorian

1922

|

Albert Keller-Dorian and Rodolphe Berthon (Société du Film en Couleurs Keller-Dorian / Société Française Cinéchromatique Paris)

Additive 3 color: Lenticular screen

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
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.
Microscopic image of a piece of Keller-Dorian lenticular film embedded in epoxide resin. The 3-dimensional structure of the lenticules is visible as well as the thin emulsion layer on the other side of the acetate base. Credit: Sample preparation and imaging by the Center for Microscopy and Image Analysis, University of Zurich.
Lenticular surface of the acetate plastic base of Keller-Dorian lenticular film. On the back plane of the acetate layer and therefore out of focus in this image, structures defined by the silver image in the emulsion layer can be perceived. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Hexagonal structure of the lenticules of Keller-Dorian lenticular film. 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 the Keller-Dorian lenticular structure with the focus set at different points. The images have been chained to show a travelling through the 3-dimensional structure of the bee-hive shaped lenticules. 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.

14 Images in 2 Galleries

Kelleycolor

1923

|

William van Doren Kelley (Kelleycolor Company)

Subtractive 2 color: Dye transfer

“In 1919 Kelley produced a series of coloured cartoons which were drawn by Pinto Colvig. In 1924 he introduced “Kelleycolor,” which was an imbibition process. Two colours were imbibed on a black-and-white key image. In 1926 he ...

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Credit: George Eastman House Motion Picture Department Collection. Film: The Old Family Toothbrush (USA 1925).

1 Image

Kesdacolor

1918

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William van Doren Kelley, Carroll H. Dunning and Wilson Salisbury (Kesdacolor)

Subtractive 2 color: Line screen filter, duplitized film stock

”The process as illustrated in USP 1431309 was a two-color additive process, but it is stated that it could be a three- or four-color process. For the original photography, the negative was exposed through a line screen composed of alternate bands ...

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

1 Image

Kinemacolor

1908

|

George Albert Smith and Charles Urban (The Natural Color Kinematograph Company Ltd.)

|

Great Britain

Additive 2 color: Rotary filter

Kinemacolor was an additive process operated with alternating red and green filters that were applied to the shutter in front of the camera and in front of the projector. With at least 32 fps the frame rate was double the minimal frame rate of 16 fps. Time parallax with small differences between the red and green record resulted in color fringes that became visible when objects or scenes were moving.

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Kinemacolor projector used for David Cleveland's and Brian Pritchard's reconstruction. Credit: Brian Pritchard.

13 Images in 3 Galleries

Kingston Process

191?

|

Arthur Kingston

|

England

Additive three color process: rotary filters

Three black-and-white color separations were printed consecutively on one film strip and projected through the corresponding color filters, thus combining to one color image on screen.

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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

Kodachrome

1935

|

Leopold D. Mannes and Leopold Godowsky (Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, 8 and 16 mm

“In 1930 Mannes and Godowsky were invited to join the staff of the Kodak Research Laboratory, where they concentrated on methods of processing multilayer films, while their colleagues worked out ways of manufacturing them. The result was the new Kodachrome film, launched in 1935. Three very thin emulsion layers were coated on film base, the emulsions being sensitised with non-wandering dyes to red, green and blue light, the red-sensitive layer being at the bottom.” (Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant, pp. 121 ff.)

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Credit: Lichtspiel / Kinemathek Bern. Film: New York, Taufe und Ausflug (CH 1954, Donald Brun).
Surface emulsion side, raking light. Credit: Carsta Knaack, HTW Berlin. Film: Regular 8mm home movie, anonymous 1975.

92 Images in 6 Galleries

Kodachrome Color Reversal Film 5265

1940

|

(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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Kodachrome Color Reversal Film Type 5262

1938

|

(Eastman Kodak)

|

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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Kodachrome Commercial Type 5268

1946

|

(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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Kodachrome II

1961

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm, 25 to 40 ASA

Kodachrome II was introduced in 1961. It was the first film stock since 1936 that was specifically meant for amateur use. Eastman Kodak presented the material as superior to the ‘regular Kodachrome’. It supposedly had a higher speed of 25 ...

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La perception et l'imaginaire (FRA 1964, Éric Duvivier). Credit: Image'Est. Photographs of the Kodachrome II camera material by Bregt Lameris, ERC Advanced Grant FilmColors.
Les autopathes (FRA 1971, Éric Duvivier). Credit: Image'Est. Photographs of the kodachrome reversal by Bregt Lameris, ERC Advanced Grant FilmColors.
Hallucinations: Images du monde visionnaire (FRA 1963, Éric Duvivier). Credit: Image'Est. Photographs of undated Kodachrome II projection print by Bregt Lameris, ERC Advanced Grant FilmColors.

84 Images in 5 Galleries

Kodachrome Professional Film Type 5267

1942

|

(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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Kodachrome Two-color 1915, after 1930 renamed Fox Nature Color

1915

|

John George Capstaff (Kodak Research Laboratories)

Subtractive 2 color process: Beam-splitter, double-coated film

The Kodachrome process was invented in 1913 by John G. Capstaff for still photography and subsequently adapted to motion pictures. For the process two frames were advanced simultaneously, one located above the other. The light passed either through two lenses or through a beam-splitter, fitted with red and green filters. The release print was exposed through a beam-splitter whereby the alternate frames were projected onto either side of double-coated stock. After development by a usual b/w process, the film was tanned to harden the exposed areas. The soft areas were dyed red-orange and blue-green respectively.

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Two-Color Kodachrome Print (USA ca. 1925 to 1927, Anonymous). Credit: George Eastman Museum. Photographs of the Kodachrome two-color double coated stock from 1925 and 1927 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
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 5x. Credit: photomicrograph by Silvana Konermann.
Magnification 10x. Credit: photomicrograph by Silvana Konermann.
Magnification 20x. Credit: photomicrograph by Silvana Konermann.
Kodachrome Two-color test from 1922, YouTube channel of the George Eastman House.

350 Images in 12 Galleries

Kodachrome used for duplication

[1964]

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Kodacolor / Keller-Dorian Color

1928

|

Albert Keller-Dorian (Eastman Kodak)

Additive 3 color: Lenticular screen

“LENTICULAR PROCESS In 1896 R. E. Liesegang (Ahriman, 1896) suggested a photographic color process based upon the use of banded filters in the camera aperture. […] In 1909 R. Berthon (British Patent 10,611; see also Berthon, 1910a, b) ...

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Kodacolor lenticular filter for the projector. Lichtspiel / Kinemathek Bern.
Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
Magnification of an area. Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
Color reconstruction test. Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Microscopic linear lens structure of Kodacolor lenticular film. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Acetate plastic base of Kodacolor lenticular film embedded in epoxide resin. The emulsion layer usually placed on the opposite side of the acetate base has been removed beforehand and is therefore not visible. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Focal travelling through the 3-dimensional structure of Kodacolor lenticular film. In the beginning the linear lenticular structure is visible and towards the end the emulsion layer comes into focus and the granular structure defined by the density of the silver is visible. In this shot the lenticules were showing towards the light source and the emulsion towards the camera. This enables an undistorted recording of the emulsion layer. Credit: David Pfluger, editing by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Focal travelling through the 3-dimensional structure of Kodacolor lenticular film. In the beginning the linear lenticular structure is visible and towards the end the emulsion layer comes into focus. In this shot the lenticules were allocated towards the lens of the microscope and the light source at the side of the emulsion similar to the configuration in projection. As a consequence the graininess of the emulsion is not visible as with the film flipped to the other side. The structure is optically distorted perpendicular to the linear structure of the lenticules. Credit: David Pfluger, editing by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

24 Images in 1 Gallery

Kodak Color Asset Protection Film 2332

2012

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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