Ektachrome ER

Timeline of Historical Film Colors

Film Colors
Home
Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, browse by image, search by color, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on the header slides.
About
About this Project
This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptual predecessors.

Timeline of Historical Film Colors was started with Barbara Flueckiger’s research at Harvard University in the framework of her project Film History Re-mastered, funded by Swiss National Science Foundation, 2011-2013.

In 2013 the University of Zurich and the Swiss National Science Foundation awarded additional funding for the elaboration of this web resource. 80 financial contributors sponsored the crowdfunding campaign Database of Historical Film Colors with more than USD 11.100 in 2012. In addition, the Institute for the Performing Arts and Film, Zurich University of the Arts provided a major contribution to the development of the database. Many further persons and institutions have supported the project, see acknowledgements.

Since February 2016 the database has been redeveloped in the framework of the research project Film Colors. Technologies, Cultures, Institutions funded by a grant from Swiss National Science Foundation. Since 2016, the team of the research project ERC Advanced Grant FilmColors has been collecting and adding written sources and photographs. All the members of the two research projects on film colors, both led by Barbara Flueckiger, have been capturing photographs of historical film prints since 2017.

Please report errors or suggestions.

Follow the links “Access detailed information ›” to access the currently available detail pages for individual processes. These pages contain an image gallery, a short description, a bibliography of original papers and secondary sources connected to extended quotes from these sources, downloads of seminal papers and links. We are updating these detail pages on a regular basis.
Scan2Screen
Scan2Screen
More than a decade of research on film colors, countless visits to archives to explore and document historical film colors for the Timeline has led the team to develop the scientifically proven multispectral scanning workflow Scan2Screen.

Based on an in-depth study of 8 leading commercial film scanners the team identified core requirements to capture historical film colors in a more comprehensive and future-proof way.

For more information visit the website or follow Scan2Screen on LinkedIn.

Currently, Scan2Screen has headquarters in Palo Alto, California, and in Zurich, Switzerland.
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Color Mania Book
Color Mania Book
Barbara Flueckiger, Eva Hielscher, Nadine Wietlisbach (eds.)

Color Mania. The Material of Color in Photography and Film

Since the earliest days of cinema, film has been a colorful medium and art form. More than 230 film color processes have been devised in the course of film history, often in close connection with photography. In this regard, both media institutionalized numerous techniques such as hand and stencil coloring as well as printing and halftone processes. Apart from these fundamental connections in terms of the technology of color processes, film and photography also share and exchange color attributions and aesthetics.

This publication highlights material aspects of color in photography and film, while also investigating the relationship of historical film colors and present-day photography. Works of contemporary photographers and artists who reflect on technological and culture-theoretical aspects of the material of color underline these relations. Thematic clusters focus on aesthetic and technological parallels, including fashion and identity, abstraction and experiment, politics, exoticism, and travel.

Color Mania contains a general introduction to color in film and photography (technique, materiality, aesthetics) as well as a series of short essays that take a closer look at specific aspects. An extensive image section illustrates the texts and color systems and continues the aesthetic experience of the various processes and objects in book form.

The publication is also available in German

Edited by Barbara Flückiger, Eva Hielscher, Nadine Wietlisbach, in collaboration with Fotomuseum Winterthur
With contributions by Michelle Beutler, Noemi Daugaard, Josephine Diecke, Evelyn Echle, Barbara Flueckiger, Eirik Frisvold Hanssen, Eva Hielscher, Thilo Koenig, Joëlle Kost, Franziska Kunze, Bregt Lameris, David Pfluger, Ulrich Ruedel, Mona Schubert, Simon Spiegel, Olivia Kristina Stutz, Giorgio Trumpy, Martin Weiss, Nadine Wietlisbach
Design: Meierkolb

16 × 24 cm, 6 ¼ × 9 ½ in
240 pages, 122 illustrations
paperback

2020, 978-3-03778-607-9, English
News and Blog
News and Blog
In June 2015, the European Research Council awarded the prestigious Advanced Grant to Barbara Flueckiger for her new research project FilmColors. Bridging the Gap Between Technology and Aesthetics, see press release of the University of Zurich and information on the University of Zurich’s website.

Subscribe to the blog to receive all the news: https://blog.filmcolors.org/ (check out sidebar on individual entries for the “follow” button).
Acknowledgements
Acknowledgements
Contributions to the Timeline of Historical Film Colors

“It would not have been possible to collect all the data and the corresponding images without the support from many individuals and institutions.Thank you so much for your contribution, I am very grateful.”
Barbara Flueckiger

Experts, scholars, institutions | Sponsors, supporters, patrons of the crowdfunding campaign, April 23 to July 21, 2012

Experts, scholars, institutions
- Prof. Dr. David Rodowick, Chair, Harvard University, Department of Visual and Environmental Studies
- Prof. Dr. Margrit Tröhler, Department of Film Studies, University of Zurich
- Prof. Dr. Jörg Schweinitz, Department of Film Studies, University of Zurich
- Prof. Dr. Christine N. Brinckmann, Department of Film Studies, University of Zurich
- PD Dr. Franziska Heller, Department of Film Studies, University of Zurich
- Dr. Claudy Op den Kamp, Department of Film Studies, University of Zurich
- Prof. Anton Rey, Institute for the Performing Arts and Film, Zurich University of the Arts
- Dr. Haden Guest, Director, Harvard Film Archive
- Liz Coffey, Film Conservator, Harvard Film Archive
- Mark Johnson, Loan Officer, Harvard Film Archive
- Brittany Gravely, Publicist, Harvard Film Archive
- Clayton Scoble, Manager of the Digital Imaging Lab & Photography Studio, Harvard University
- Stephen Jennings, Photographer, Harvard University, Fine Arts Library
- Dr. Paolo Cherchi Usai, Senior Curator, George Eastman Museum, Motion Picture Department
- Jared Case, Head of Cataloging and Access, George Eastman Museum, Motion Picture Department
- Nancy Kauffman, Archivist – Stills, Posters and Paper Collections, George Eastman Museum, Motion Picture Department
- Deborah Stoiber, Collection Manager, George Eastman Museum, Motion Picture Department
- Barbara Puorro Galasso, Photographer, George Eastman House, International Museum of Photography and Film
- Daniela Currò, Preservation Officer, George Eastman House, Motion Picture Department
- James Layton, Manager, Celeste Bartos Film Preservation Center, Department of Film, The Museum of Modern Art
- Mike Pogorzelski, Archive Director, Academy Film Archive
- Josef Lindner, Preservation Officer, Academy Film Archive
- Cassie Blake, Public Access Coordinator, Academy Film Archive
- Melissa Levesque, Nitrate Curator, Academy Film Archive
- Prof. Dr. Giovanna Fossati, Head Curator, EYE Film Institute, Amsterdam, and Professor at the University of Amsterdam
- Annike Kross, Film Restorer, EYE Film Institute, Amsterdam
- Elif Rongen-Kaynakçi, Curator Silent Film, EYE Film Institute, Amsterdam
- Catherine Cormon, EYE Film Institute, Amsterdam
- Anke Wilkening, Friedrich Wilhelm Murnau Foundation, Wiesbaden, Germany
- Marianna De Sanctis, L’Immagine Ritrovata, Bologna
- Paola Ferrari, L’Immagine Ritrovata, Bologna
- Gert and Ingrid Koshofer, Gert Koshofer Collection, Bergisch Gladbach, Germany
- Memoriav, Verein zur Erhaltung des audiovisuellen Kulturgutes der Schweiz
- Claudius Kelterborn, Collector
- David Landolf, Director, Lichtspiel / Kinemathek Bern
- Brigitte Paulowitz, Head Archivist and Restorer, Lichtspiel / Kinemathek Bern
- Margaret Bodde, Executive Director, The Film Foundation
- Maria Paleologos, The Film Foundation
- Jessica Bursi, The Film Foundation
- Michael Champlin, DeBergerac Productions, Inc. Rochester, NY
- Joakim Reuteler, Digital Humanities Lab, University of Basel
- Prof. Dr. Rudolf Gschwind, Director, Imaging and Media Lab, University of Basel
- Erwin Zbinden, Researcher, University of Basel
- Klaus Martin Boese
- Mike Mashon, Head of the Moving Image Section, Library of Congress
- George Willeman, Nitrate Film Vault Manager, Library of Congress
- Lynanne Schweighofer, Safety Film Vault Manager, Library of Congress
- David Pierce, Library of Congress, Assistant Chief, Library of Congress
- Kieron Webb, Technical Projects Officer, British Film Institute
- Bryony Dixon, Silent Film Curator, British Film Institute
- Prof. Dr. Ulrich Ruedel, HTW Berlin
- Dr. Jan-Christopher Horak, Director, UCLA Film & Television Archive
- Todd Wiener, Motion Picture Archivist, UCLA Film & Television Archive
- Ross Lipman, Film Restorer and Filmmaker
- Dr. Céline Ruivo, Director Film Collections, Cinémathèque Française
- Dr. Iris Deniozou, Archivist, Cinémathèque Française
- Paul Read, Film Conservator
- Roger Smither, Film Historian
- Nicola Mazzanti, Associate Director, Royal Film Archive of Belgium
- Laurent Mannoni, Directeur scientifique du patrimoine et du Conservatoire des techniques, Cinémathèque française
- François Ede, Researcher and Film Restorer
- Andrea Meneghelli, Cineteca di Bologna, Archivio Film
- Alessandra Bani, Cineteca di Bologna, Archivio Fotografico
- Hege Stensrud Høsøien, Director, National Library of Norway
- Dr. Eirik Frisvold Hanssen, Head of Film and Broadcasting Section, National Library of Norway
- Tina Anckarmann, Film Archivist, National Library of Norway
- Jeanpaul Goergen, Film Scholar
- Prof. Martin Koerber, Leiter der Abteilung Film, Deutsche Kinemathek
- Reto Kromer, reto.ch
- Brian Pritchard, Motion Picture and Film Archive Consultant
- Bertrand Lavédrine, Centre de Recherche sur la Conservation des Collections Paris
- Mikko Kuutti, Deputy Director, Kansallinen audiovisuaalinen arkisto / National Audiovisual Archive, Finland
- Juha Kindberg, Film Collection, Kansallinen audiovisuaalinen arkisto / National Audiovisual Archive, Finland
- Dr Kelley Wilder, Senior Research Fellow, De Montfort University
- Michael Harvey, Curator of Cinematography, National Media Museum, Bradford
- Ruth Kitchin, Collections Assistant, National Media Museum, Bradford
- Kathryn Gronsbell, Moving Image Archiving & Preservation, NYU
- Gisela Harich-Hamburger, Photo Conservator
- Dr Luke McKernan, Lead Curator, Moving Image, The British Library
- Dr Michael Pritchard FRPS, FBIPP, Director-General, The Royal Photographic Society
- John Falconer, Lead Curator Visual Arts, Curator of Photographs, The British Library
- Cindy Keefer, Director, Center for Visual Music
- Dr. Anna Batistová, Národní filmový archiv / National Film Archive, Prague
- Lenka Šťastná, Národní filmový archiv / National Film Archive, Prague
- Mark Jacobs
- Toni Booth, Curator, National Science and Media Museum, Bradford
- Sylvie Pénichon, Conservator of Photographs, Amon Carter Museum of American Art
- Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San Anselmo, CA
- Phil Rutter, Hon Treasurer & Secretary, British Kinematograph, Sound & Television Society
- Ben Letzler, editorial assistance
- Beda Künzle, support website programming
- Manuel Joller, coordinator data management
- Barbara Fritzsche, support data management
- Andreas Bühlmann, support data management
- Michelle Beutler, support data management
- Diana Arenas R., support data management
- Sabrina Züger, coordinator data management
- Jamie Lee Moser, support data management
- Valentina Romero, support data management
- Meredith Stadler, support data management
Sponsors, supporters, patrons of the crowdfunding campaign

April 23 to July 21, 2012, $11,175 raised
- reto.ch
- Hannes and Esther Bernhardt, grand supporters
- Marianne Flückiger Bösch and Bernhard Bösch, major supporters
- Daniel Flückiger, major supporter
- Hanna Gubler Ursin
- Louis Krähenbühl
- Prof. Heinz B. Heller
- Dariush Daftarian and Viola Lutz, supporters
- Annette Schüren, supporter
- Peter A. Huber, supporter
- Kurt Horlacher, supporter
- Thomas Haegele, supporter
- Brigitte Frizzoni
- Stina Werenfels, supporter
- Gabriela Schmidt, supporter
- Esther Flückiger, supporter
- Dorothee Schön
- Stefanos Domalis
- Charlotte Flückiger, supporter
- Andreas Koch, supporter
- Nina Scheu, supporter
- Filmspur audiovisuelle Quellen
- Reinhard Zschoche, supporter
- William Hungerbuehler, supporter
- Franziska Heller, supporter
- Silvana Konermann, supporter
- Eirik Hanssen, supporter
- Thomas Elsaesser
- Tonio Seiler and Nora Cista
- Anne Gjelsvik
- Veronika Ronchin
- Ulrich Ruedel
- Dennis Atkinson
- Britta Hartmann
- Cynthia Freeland, sponsor
- Dominik Schrey, sponsor
- Guido Kirsten, sponsor
- Daniela Casanova, sponsor
- Alice Christoffel, sponsor
- Martin Koerber
- Silvia Müller
- Simon Spiegel, sponsor
- Yvonne Zimmermann, sponsor
- Elias Savada
- Lars Gaustad
- Alexandra Navratil, sponsor
- Christian Gosvig Olesen, sponsor
- Joanne Bernardi, Associate Professor, University of Rochester
- Laura Major, sponsor
- Dan Binns, sponsor
- Fred Truniger, sponsor
- Margrethe Bruun Vaage, sponsor
- Samuel Flückiger, sponsor
- Ulrike Bergermann, sponsor
- Ursula McCormack, sponsor
- Tereza Smid, sponsor
- Barbara Fritzsche, sponsor
- Marco Brazerol, sponsor
- Susie Trenka, sponsor
- Jan Sahli, sponsor
- Thomas Binder, sponsor
- Anne Kelly, sponsor
- Brigitte Gloor, sponsor
- Sean Kelly
- Lynanne Schweighofer
- Mattia Lento
- Philip Frederic Grütter, campaigner
- Hitomi Matsuyama
*Note: Several donors prefer to remain anonymous.

ERC Advanced Grant FilmColors

Project Leader and Principal Investigator:

Prof. Dr. Barbara Flueckiger, [email protected]

Team:
- Dr. Bregt Lameris, PostDoc Film Studies [email protected]
- Dr. Giorgio Trumpy, Research Scientist [email protected]
- Dr. David Pfluger, Senior Researcher [email protected]
- Martin Weiss, Technician, Film Restorer and Senior Researcher [email protected]
- MA Joëlle Kost, PhD Candidate [email protected]
- MA Michelle Beutler, PhD Candidate [email protected]
- MA Olivia Stutz, PhD Candidate [email protected]
Research Management:

Dr. Evelyn Echle, Scientific Research Manager [email protected]

Software Development:

BSc Gaudenz Halter, Software Development Color Film Analyses, video annotation und crowdsourcing platform VIAN, in collaboration with Visualization and MultiMedia Lab of Prof. Dr. Renato Pajarola, University of Zurich, (Enrique G. Paredes, PhD; Rafael Ballester-Ripoll, PhD) since 07.2017

BSc Noyan Evirgen, Software Development, in collaboration with Visualization and MultiMedia Lab von Prof. Dr. Renato Pajarola, Universität Zürich (Enrique G. Paredes, PhD; Rafael Ballester-Ripoll, PhD), 03.2017–01.2018

Assistants Film Analyses:

BA Manuel Joller, BA Ursina Früh, BA/MA Valentina Romero

Film Colors. Technologies, Cultures, Institutions

Project Leader:

Prof. Dr. Barbara Flueckiger, [email protected]

Team:

MA Noemi Daugaard, PhD Candidate, [email protected]
MA Josephine Diecke, PhD Candidate, [email protected]

Data Management Timeline of Historical Film Colors:

MA Sabrina Züger, BA Manuel Joller, BA Jamie-Lee Moser, MA Meredith Stalder, MA Valentina Romero
Budget / Sponsors
Budget / Sponsors
Financing the Timeline of Historical Film Colors?

The development of the project started in fall 2011 with stage 1. Each stage necessitated a different financing scheme. We are now in stage 3 and are looking for additional funding by private sponsors.

Read more about the financial background of the project on filmcolors.org.

Thanks for your support!
Copyright Notice
Important copyright notice
Many graphics, photographs, and text portions
that appear on this web page are protected by copyright!

Please ask for permission if you would like to use them.

The author has exercised the greatest care in seeking all necessary permissions to publish the material on this website. Please contact the author immediately and directly should anything infringe a copyright nonetheless.

Timeline of Historical Film Colors by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Contact
Contact
E-mail to Barbara Flueckiger, founder and project leader of Timeline of Historical Film Colors
Timeline
Timeline of Historical Film Colors
Donate
Donate
Thank you very much for your financial contribution! Each sponsor receives a credit on the acknowledgement page: http://zauberklang.ch/acknowledgements.html

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1960

(Eastman Kodak)

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

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Ektachrome EF

1965

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm reversal, high speed

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Ektachrome Commercial Type 7255

1958

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm reversal

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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.

1 Image

Edge Codes and Identification

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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.
View Quote on Page: Edge Codes and Identification

91 Images in 6 Galleries

Eastman Television Recording Film 5374 / 7374

1955

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Special Order Print Film SO-886

1997

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman RP Negative Film 7229

1963

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Reversal Print Film 7387

1964

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

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Eastman Reversal Color Print Film Type 5269 / 7387

1956

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, reversal

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).

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Eastman Panchromatic Separation Film 5235

1956

Eastman Kodak Company

Black and white panchromatic film: Three-color separation positives from color negatives

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Eastman Panchromatic Separation Film 5216

1951

Eastman Kodak Company

Black and white panchromatic film: Three-color separation positives from color negatives

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Eastman Multilayer Stripping Film / Kodak Stripping Film

1950

(Eastman Kodak)

Subtractive 3 color: Stripping film

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Eastman Lenticular Print Film Type 5306

1951

(Eastman Kodak)

Additive 3 color: Lenticular screen

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Eastman Fine Grain Release Positive Film 5302 / 7302

1988

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR Primetime 640T Teleproduction Film 5600 (P)

1995

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 650 ASA

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Eastman EXR Color Print Film 5386 / 7386

1993

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR Color Print Film 2386 / 3386

1994

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR Color Intermediate Film 5244 / 7244

1992

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR 500T Color Negative Film 7296

1990

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman EXR 500T Color Negative Film 5296

1989

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR 500T 5298 / 7298 (T)

1994

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR 200T Color Negative Film 5293 / 7293

1992

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR 200T 5287 / 7287 Ultra Latitude (W)

1994

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 200 ASA

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Eastman EXR 100T Color Negative Film 7248

1989

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman EXR 100T Color Negative Film 5248

1990

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Eastman EXR 50D Color Negative Film 5245 / 7245

1989

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Embossed Kinescope Recording Film

1956

(Eastman Kodak)

Additive 3 color: Lenticular screen

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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.

2 Images

Eastman Ektachrome, type A

1971

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, super 8, Tungsten, 160 ASA

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Eastman Ektachrome, type 5285 / 7285

1999

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 100 ASA

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Eastman Ektachrome, type 5239

1975

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 160 ASA, TV film

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Eastman Ektachrome, type 5240 (VNF)

1975

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 125 ASA, video news film

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Eastman Ektachrome VN Print Film 7399

1977

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Ektachrome Video News Film 7240

1975

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome Video News Film 7239

1976

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Ektachrome SM, type 7244

1975

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, super 8

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Eastman Ektachrome Reversal Print Film 7390 (SO-390)

1973

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm reversal

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Eastman Ektachrome R Print Film 7389

1970

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Ektachrome MS, type 5256

1963

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 125 ASA, TV film

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Eastman Ektachrome High Speed Video News Film 7250

1977

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm, Tungsten, 400 ASA

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Eastman Ektachrome ER, type B, type 5258

1960

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 125 ASA

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Eastman Ektachrome ER, type 5257

1960

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 160 ASA

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cross section scheme of Ektachrome Type 5257 (and 5258). Scource: Groet, N.H./Murray, T.J./Osborne, C.E. (1960): Two High-Speed Color Films and a Reversal Print Film for Motion Picture Use. In: JSMPTE Vol. 69, p. 816.

1 Image

Eastman Ektachrome EF, type 5242 / 7242, type B

1965

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 125 ASA, TV film

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Eastman Ektachrome EF, type 5241 / 7241

1965

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 160 ASA, TV film

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Eastman Ektachrome Commercial, type 7255

1958

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm reversal

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Eastman Ektachrome Commercial Film 7252

1970

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16 mm, Tungsten, 25 ASA

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Eastman Ektachrome 7251

1981

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, high speed, color reversal, 16mm, daylight

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Eastman Direct MP Film 5360 / 7360

1968

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color SP Print Film 5383 / 7383

1974

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color SP Low Contrast (minus 25%) Print Film 5738 / 7738

1977

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Reversal Intermedeate Film 5249 / 7249

1968

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, reversal

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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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About this Project

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Compare

Filter

Color Mania Book

News and Blog

Acknowledgements

Experts, scholars, institutions

Sponsors, supporters, patrons of the crowdfunding campaign

ERC Advanced Grant FilmColors

Film Colors. Technologies, Cultures, Institutions

Budget / Sponsors

Important copyright notice

Contact

Timeline of Historical Film Colors

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