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- Chromogenic monopack
- Chromolytic multilayer
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Not to be confused with the Eastman Color Print Film 5381 from 1950.
Not to be confused with the Eastman Color Print Film 5381 / 7381 from 1970.
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Cross section scheme of Eastman Color Negative, Type 5250. Scource: Dundon, Merle L./Zwick, Daan M. (1959): A High Speed Color Negative Film. In: JSMPTE Vol 68, p. 736.
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Cross section scheme of Eastman Color Type 5248. Scource: Hanson, W. T., Jr.; Kisner, W. I. (1953): Improved Color Films for Color Motion-Picture Production. In: Journal SMPTE, Vol. 61, Dec. 1953, p. 699.
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“The Eastman Colour Films are multilayer films of the type in which the layers are not separated after exposure. Films of this class are known as Multilayer, Monopack or Integral Tripack. “Multilayer” is descriptive not only of this ...
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Alien (USA 1979, Ridley Scott). Credit: Library of Congress. Photographs of the Eastman Color Print Film from 1979 by Joëlle Kost, ERC Advanced Grant FilmColors.
- Photomicrograph of modern chromogenic stock, . Credit: Silvana Konermann.
- Eastman Color chromogenic monopack. Source: Craig, G.J. (1953): Eastman Colour Films for Professional Motion Picture Work. In: British Kinematography, 22,5, 1953, pp. 146-158.
- Color fading of Eastmancolor stock. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany). Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin: Springer.
- Color reconstruction by Rudolf Gschwind, University of Basel. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
- Color fading of Eastmancolor stock.
- Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson.
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“One of the most elegant solutions to the problem of forming a colored image, lies in the utilization of the products formed by the action of the developer upon the latent image. By this means there is formed a dye image whose intensity follows ...
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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. 161.
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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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