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March 11, Page Count: What Would Machiavelli Do?: Services included sensitizing, perforating, processing negative, conditioned air, examination of film and making control measurements and tests. It was financed by Technicolor. Pair of images of normal dimensions viz. Projection Double aperture with filters inserted. Adjustment of register with glass wedge. Special arc and projection optical system.

Original beam-splitter used for the negative records. Insufficient laboratory capacity prevented prints from being delivered until following year. Price 27 cents a foot. Producers declared 8 cents limit. Small laboratory unit founded in Hollywood. Paramount made Wanderers of the Wasteland.

One hundred and seventy-five made at 15 cents per foot. Twelve two-reelers were sanctioned for production by Technicolor. Twelve million feet of negative required and 60,, feet of positive. Technicolor appropriated 3,, dollars for plant, equipment and research. Walt Disney made Flowers and Trees the first three-colour production. Exclusive three year contract signed with Disney. Basic price for prints 5 cents per foot. First feature three-colour production Walter Wangert Trail of the Lonesome Pine with exteriors followed.

Plant now making 2,, feet of prints a month. Processed in the Hollywood plant,. By this date some 23 cameras bad been built, costing , each. Monopack Kodachrome modified used for first time for the exteriors only in a major studio production, M. Two- or three-colour dye-transfer printing by successive imbibitions from wash-off gelatine relief matrices.

Registration effected by travelling pin-belt. Film base is coated on one side with a positive emulsion which is used for printing the sound track, picture key, and frame surrounds. The dyes are transferred subsequent to the completion of the silver print. Single film records the direct beam. The bi-pack consists of a blue recording front film, the emulsion surface of which is coated with a red filter excluding green and blue light from the rear film, which being coated with a red sensitive emulsion records red light only.

The single film bears a green sensitive emulsion. Since each projection positive frame requires three successively exposed negatives, time and space parallax must prohibit the photography by this method of moving subject matter. The method is therefore employed for the photography of still subject matter such as animated drawings, titles, or trick firms of any description.

From this positive colour film see Kodachrome either mm. From these separation negatives positive printing relief matrices can be printed by a suitable skipping optical printer. In colour photography it is necessary to analyse the light reflected by coloured objects into at least three spectral regions which, where there are three only, may be termed red, green, and blue respectively.

This is done by means of colour filters which transmit definite portions of the spectrum and absorb the rest; the three negatives are produced either successively or simultaneously. In cinematography the negatives must, of course, be made simultaneously unless the rate of movement of the film is increased threefold, to which there are grave objections. The three negatives may be made simultaneously by means of three lenses; this results in colour parallax, and the three images will never exactly superpose.

Alternatively, the beam of light issuing from a single objective must be divided. This division may be made by means of superposed filters, the components of white light being successively subtracted and acting on sensitized films superposed. The objections to this are that the films and filters must be very thin if the composite tripack and filter film is not to be too thick, and that each layer of emulsion produces a certain amount of scattering, so that the successive images are more and more diffused. Other methods of dividing the beam are by successive reflections from thin, partly reflecting and partly transmitting films, which may be either isolated films of collodion or films of silver on glass surfaces.

The silver may be in the form of totally reflecting films partly covering the surfaces on which they are deposited, a method not without objection, since the areas of film must be small if there is not to be differentiation between different parts of the light beams; alternatively, the silver films may be so thin as both to reflect and transmit. The Technicolor process is, optically speaking, a combination of two processes suggested above. One semi-reflecting metallic film on the diagonal plane of a glass cube is combined with a bipack, to which the objections of the tripack do not altogether apply, as the two sensitive films can be placed in contact.

The glass cube placed between the lens and the film has considerable thickness being approximately equal to the size of field covered and therefore produces considerable aberration. The result was poor definition and images of unequal sizes. Technicolor, however, early realized the necessity for taking the prism into account in the design of the lens system, and in D. Comstock took out a patent B.

In , however, their prism system was simplified and the need felt for the lenses of larger aperture, owing to the change in cinema technique from outdoor to studio photography. This was for two-colour work. With the change to three-colour work in , a further change was needed, and, moreover, the matter of colour correction became more stringent. However, since, in the new Technicolor process, only two images are formed in a plane at right angles thereto, it is possible to allow for the slightly different focus for the green, if the foci for the red and blue coincide.

These, then, were the conditions to be fulfilled: The green focus could be 0. As there is inevitably some loss of definition in colour processing, the definition of the lenses was to be better than that of lenses for non-colour work. Other lenses of focal length 70 mm. Now the secondary spectrum, which required an adjustment of 0.

It thus became necessary to reduce the secondary spectrum with the longer focus lenses. Fortunately, the Parsons Optical Glass Co. By judicious incorporation of this glass in one or two components in the longer-focus lenses, these were designed to give approximately the same difference between the green focus and red-blue focus as in the standard lens. A further interesting problem arose when short-focus lenses were required, because, with normal types, there is not sufficient clearance between the lens and the focal plane to accommodate the prism.

Ball of Technicolor had tried placing a negative lens in front of an ordinary cinematograph-taking lens, the distance between the two being greater than the focal length of the positive lens; thereby he decreased the focal length and at the same time displaced the nodal plane towards the focal plane, giving greater clearance. A negative lens so placed, however, introduces considerable barrel distortion.

The same stringency as to colour correction, of course, applies to this lens E. The closeness of the limits for colour correction necessitates special precautions in manufacture. In a batch of lenses made to very close tolerances of radius and thickness and made from identical glass melts, it is rare to find the chromatic corrections identical to the Technicolor specification, owing to small variations in the composition of glass throughout the pot.

The assembled lenses are first tested for focus throughout the spectrum on a collimator illuminated through a constant deviation prism. If necessary, alterations are then made to bring the chromatic corrections right. Finally, a photographic check is made. An inclined object consisting of parallel lines is photographed through the actual colour filters used by Technicolor. The Technicolor arrangement of films is a derivative of the semidialyte system of J.

The optical system is the work of Messrs. Technicolor Motion Picture Corporation. An oscillating film gate causing the film to engage alternately a claw feed mechanism and fixed registration pins. This movement provides the ideal conditions for registration accuracy by virtue mainly of the fixed registration pins.

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Optical defects due to imperfect contact of bipack in the camera gate have always presented an annoying snag. In this patent the two films are separated by a pin presumably recessed just before they enter the gate, the idea being to feed the two films along a gradually converging path in order to exclude air-pockets by progressively squeezing out the air on the approach of the two films to the gate. Means are also provided for lubricating the films with a light mineral oil. This is done by oil-saturated pads between which the films run obliquely immediately before they are separated by the pin above mentioned.

The use of oil for such lubrication would seem to invite trouble arising from spread of oil over image areas on the film Fig. A view finder control device for cameras having an axially and laterally adjustable optical view finder system and a confined housing characterized in that the mechanism for adjustment of the optical system moves with the latter whereas as the control means for the said mechanism is mounted on the housing, and the adjusting mechanism and the control means are connected by an articulated link transmitting motion there between.

Parallax compensating focusing view finder, and arrangement to conform to different lens foci. This invention combines the advantages of the Technicolor beamsplitter with those of multilayer film. A bilayer film is placed in one gate and a monolayer in the other. The bilayer film records blue light on the outer emulsion layer and red on the inner. Needless to say, a destroyable yellow filter divides the two emulsions.

The monolayer film records green light. The bilayer film is processed to a reversed positive and colour developed to yellow-cyan. The monolayer film is similarly reversed and colour developed magenta. From the bilayer film the blue and red separation negatives are extracted, and from the monolayer the green separation. Clearly, imbibition matrices can then be made as usual. The method should offer important advantages, as for example:. Avoidance of the common absorptances [sic!

To quote the patent: Therefore, if, for example, the yellow record—superimposed on magenta and cyan records—is copied with blue light, the magenta record and the cyan record contribute undesired density patterns, since they likewise pick up a certain amount of the cyan record densities, whereas the red light provides a comparatively pure copy of the cyan record. Accordingly, one of the offending cyan and magenta records—for example, the magenta-coloured record of the green aspect—is taken separately, and can therefore be printed without introducing falsifying components in the other two records.

It will be evident from Fig. Evidently prints can equally well be made on trilayer film coated two layers on one side and one layer on the other, or coated in the conventional way as in Kodachrome and Ansco, all three layers on one side. The notion is well adapted to the making of good duplicates. Before development the blue record negative is treated in a bleaching bath to destroy the red filter coating on the surface of the emulsion. A solution of hydrosulphite may be used.

Alternatively blue filters of varying density may be used to control contrast. After exposure the matrix film is given a flash fog to threshold value with light identical to that used for printing the image. An ultra-violet absorbing filter is inserted between the light source and the film. In the Technicolor process the film upon which the dye transfers are made is a normal black-and-white positive film bearing a completed silver image sound track, a lightly printed picture key, [footnote: Since the sound track is developed independently of any considerations of the characteristics of the picture image the conditions for ideal processing are present.

By means of copper water-jacketed runways the mono-metal register-pin travelling band is kept at such a temperature that the film sandwich is kept heated during the transfer. Corporation covering certain aspects of the Technicolor imbibition printing machine, the following dyes are mentioned:. The machinery used today by Technicolor Ltd. Owing to the war, no replacement was feasible and as a result of the increasing demand for colour productions this machine has continued to run practically non-stop week-ends excluded ever since. It is now said to be running at the increased rate of feet per minute.

The machine was built by the LB. The machine is four banked, the fourth not being in use i. Each roll of blank is spliced to the preceding one by a normal cement join. This water is kept flowing at a rate of 9 gallons per minute. A jet of de-aerated water is directed at the point of first contact between blank and matrix. This defect is most liable to occur in areas of great colour contrast i. At about the same time as the blank is being fed on to the machine, the appropriate yellow matrix is also being run on to a continuous feed elevator, each roll of matrix being cut to length, for synchronization with the blank, by the matrix make-up department.

The matrix is attached to its predecessor by means of a 6-inch length of monel strip perforated in the same manner as a piece of negative cine film , and by four two-pronged clips. A driving sprocket with a three-position free wheel, normal, and stationary type of dog clutch, supplies this elevator from the feed reel. Another sprocket carries the matrix into the top of the dye tank, where it runs in vertical paths past two cascades. These cascades are supplied with dye pumped up from a vat below the floor.

The dye is passed through three filter bags, one large one in the vat and two smaller ones over the dye-tank cascades. During its travel through the dye tank the matrix passes over a driving sprocket and a weighted jockey pulley attached to a cord. This cord actuates the speed control arm of a four-bush motor which drives this section of the machine.

In this way the driving motor speed is governed by the tension of the film. This does no more than supply or take up stock in the event of slight sluggishness of the controlled driving motors when responding. From this elevator the matrix passes two blow-offs one either side of the film , runs downwards past a mercuroid trip switch and enters the roll tank from the top, passing under a roller on to the pin belt where the blank is pressed on to it by the first 6-inch roller and held in register by the pins.

The pin belt is feet long, consisting of monel perforated strip 35 mm. The whole length is soldered into a loop. Four wheels of approximately inches diameter enable it to travel from end to end of the machine four times. The path from the wheel nearest the wet end passes through the roll tank by means of a water gate either end.

Towards the under side of the upper two paths, which travel from the wet to the dry end, and the upper side of the under two paths of the pin belt i. This trunking is rectangular in section approx. The side of the pin belt bearing the film is protected with wooden covers which are hinged for easy access.

The greater the temperature the greater the contrast. It is therefore Technicolor policy to keep these table temperatures constant according to a standard technique by means of mixing valves. The matrix and blank in close contact, and held in register by the pin belt, emerge from the water gate nearest the dye end of the roll tank, and pass under the large seating belt.

This seating belt is a loop of copper strip, about 9 inches diameter, similar to a piece of negative perforated cine film, but having smaller perforation on the track side. The large seating belt is followed by the small seating belt.

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The latter is similar to the first but only forms a loop 7 inches in diameter. It has only one seating roller and is of less weight. The object of the seating belts is to ensure the correct seating of the blank and matrix perforations around the pin belt teeth. Incorrect seating of the blank and matrix would cause transfer around the perforations. Results of this are to be seen in the form of half round areas of colour with sharply defined edges against the perforations.

The defect is most noticeable on the non-track side.

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A close contact between blank and matrix is still further ensured by the use of two weighted rollers, the first having a 4 lb. After these pressure rollers a sucker is placed to remove surplus water from around the perforations and pins. This is then followed by a blow-off to remove any surplus water drops from the cell side of the blank. If such a defect does occur, the number of perforations, frames, or feet, out of sync, are measured and the necessary length of leader attached to the next roll of blank or matrix whichever is applicable to be run on the machine.

The pin belt is friction driven by the two dry end wheels, which are chain driven by a constant speed motor. This is the only motor on the colour bank that is not controlled, and is therefore the one that sets the overall speed of the machine, and is termed the main drive motor. It is this twist that brings about the stripping or parting of the two films.

A mercuroid switch is placed on the blank just after the stripping point. Both matrix and blank run over pulleys both now being emulsion downwards and run in horizontal paths towards the dry end, immediately below the lower tables. The blank runs horizontally in a dry box from end to end three times before emerging at the dry end to travel to the top of the machine and over a captive diabola which by means of a cord governs the speed of the matrix dry box drive motor. The drive for the blank dry box is supplied by a friction loaded rubber covered pulley powered by a chain from the main drive motor.

The blank, after passing a mercuroid switch, travels into the pre-wet bath of the succeeding colour bank i. The object of this tank is to wash the matrix clear of any remaining dye a mercuroid switch being placed at the entry into this tank. After this the matrix passes into a wash tank and then up through the floor into the matrix dry box at the end of the transfer machine. It leaves tins to be rolled up on the take-up. The cyan bank is identical to the yellow the yellow and cyan banks being built side by side in one unit this formed an original two-colour machine.

The blank bearing the yellow and cyan dye image passes over to the magenta bank. This bank, and a disused one alongside, forms another of the original two-colour machines, and stands parallel to the yellow and cyan banks with a gangway about 6 ft. The magenta bank is very similar to the yellow and cyan, but has the following differences. A small tank containing alcohol, with a fixed elevator running in it, is placed between the wash back and roll tank.

This is only used when a certain matrix is known to be bad for air and transfer.

It is on the magenta that these defects are most pronounced. The softening effect of the alcohol on the dye laden matrix emulsion not only minimises the above defect but also increases dye spread. The weights attached to the rollers after the seating belts are increased to 6 and 12 lb. The last two modifications are introduced in order to reduce the chances of air, and transfer. The blank on leaving the magenta dry box passes over waxing rollers running over the perforation tracks. After this the blank runs past a mercuroid switch, on to the take-up elevator. The mercuroid switch is a glass phial one-third filled with mercury, into which electrodes protrude at one end, the phial being mounted on an arm pivoted about two-thirds of its length.

On the short arm two wheels are mounted so that they ride on either side of the film i. The tension of the film running vertically causes the arm to remain horizontal. In the event of the film breaking, the weight of the glass phial, or mercuroid, on the longer arm, causes it to fall to a near vertical position, the mercury forming the circuit between the electrodes. The closed circuit actuates a relay which stops the machine, rings a bell, and switches on a pilot light each section having its own appropriate light.

These lights are coloured either yellow, cyan or magenta, according to their colour bank. The de-aerator is a machine situated on the ground floor i. The water is then sucked from the bottom of the cylinder and pumped up to the IB. To be set against the great reproductive advantages of an imbibition machine, of which we are all aware, are the following disadvantages not including the difficulties to be overcome in the production of matrices.

In the event of off-sync, or off-frame troubles, many feet of film might be run before the correction can be applied. In the event of a machine stop at least two reels of production might be N. Any machine stop of more than 3 minutes would cause permanent register trouble owing to distortion of the matrices on the hot tables i.

Any particle of dirt would give a defect many times its size—i. But if it was deposited on the matrix after the dye tank, or at any time on the blank, it would be represented by a surrounding area of transfer if on the matrix by one colour; if on the blank by all the succeeding colours. If the blank emulsion is too hard — transfer would ensue, and possibly — air. If the blank emulsion be softened to overcome these two defects, bleeding or dye spread would increase. A mean technique has to be pursued which admits both defects to a lesser degree. There must exist the continual problem of register, owing to the stretch and shrinkage of new and old matrices besides the troubles experienced with negatives, masters, dupes, etc.

This might be caused by a mild form of shrinkage either blank or matrix. The above defects are peculiar to a pin-belt machine. But the more usual defects are still present, i. The following description of an imbibition printing machine patented by the LB. Corporation is concerned with the means at present employed by Technicolor in U. Reference should be made to Figures A-D. In the process of an apparatus for printing in multicolour from a set of photographically prepared gelatin matrices, the blanks to be printed and the matrices are fixed to supports and carried through cycles, the cycle for the matrices being automatically controlled and including the steps of applying excess dye to the matrices, removing a part of this dye, and pressing the matrices into contact with successive blanks.

Preferably the matrices are overexposed and overdyed so that the removal of dye results in a gradation which corresponds to the straight part of the characteristic curve of an emulsion. The removal of dye is also adjustable to attain colour balance in the resulting pictures and may be effected by sprays. Apparatus for the process comprises a set of machines corresponding to the number of colours to be printed. In the form shown, each machine comprises a dye bath 3, Fig.

The dye removal sprays are delivered by an oscillating tube 40 and may be deflected by a movable hood 50 to vary the quantity of dye removed. The matrices are carried by blocks 26, Fig. Automatic control of the hood 50 may be provided. As shown in Fig. At the top of its travel, a pin on the hood closes the cut-out switch causing the motor to stop and the hood returns under gravity. A second pin occupying a pre-set position on the front of the matrix support 26 then closes one of the switches bringing a stop into the path of the hood 50 as it returns.

Preferably the dye bath and sprays are maintained at a raised temperature. Suitable dyes for a three-colour process are Erioglaucine for the cyan component, acid fuchsin for the magenta, and resorcine yellow for the yellow. For example, there may be compensation for sunburn during or following exterior work. Neck, throat, hands and arms require treatment.

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Babies frequently require no make-up. Object of make-up is largely to reduce range of flesh colour observable in various individuals. Critical care must be given to close-ups. For studio work the following sources are used, but in each case they are filtered to match a standard daylight. Thus the filters or stock in the camera are unaltered:.

The General Electric C. Unfiltered inky lights are used to simulate firelight glow. Coloured lights may be used for special effects. Large sets are usually illuminated by arc lighting with occasional auxiliary inky units. Small sets are sometimes entirely lit by inky units. For exteriors, metallic reflectors are undesirable owing to sunlight directly reflected varying in colour-temperature from average daylight. For process projection special plates are printed of the required contrast density and colour, depending on the particular background projector to be employed.

Multiple projector heads project up to three matched prints. Background screens have been photographed up to 28 ft. Care has to be taken to achieve foreground-background balance. Lenses on the Technicolor camera are available of the following foci: These all fit into calibrated mounts that fit on to a master focusing mount. Generally, focusing is checked by measurement. Eye focusing has been found faulty.

Stops are calibrated on an arbitrary arithmetical scale. A very original Technicolor speciality is the follow-focus aid which takes the form of a pair of Selsyn motors Now available on the Dufaychrome camera. The motor arrangement is highly flexible. There are eight types of motor and eight combinations of motor-to-camera gears, all of which can be changed in the field.

The cameras can also be operated in reverse. Speeds in excess of 24 pictures per second are not permissible. The camera can be mounted on anything from a spider to a high tripod, and on any other piece of equipment as may be desired, such as dollies, three-wheel perambulators, four-wheel velocitators, booms, rotating mounts, etc. Special mounts have been used for air photography and for underwater work. Speed cameras have been made to shoot up to 96 pictures per second. The threading time of a Technicolor camera is about 3 minutes. Technicolor cartoons are photographed by normal cameras using the successive exposure method with either rotating or sliding filters.

The negative is printed on a skipping intermittent printer. All optical and trick effects known to black-and-white can be used for Technicolor. Negatives are developed at night and black-and-white rush prints delivered the following afternoon. Colour rush prints are delivered the following evening. The records have proved invaluable, not only to the cameraman, but on many occasions to the director and others participating in the production.

With regard to the use of Kodachrome monopack for the Technicolor record, Hoch says: The monopack is used in cameras which are fitted with mm. Technicolor recommend that the Kodachrome exposure for Technicolor reproduction should be on the low side of normal.

Barrel Catling, British director, has recounted his experiences during the making of a documentary which was shot entirely in monopack. His statements do not support the absurdly exaggerated reports which have been quoted from American journals. It is quite clear that after all the fuss there has been some disappointment. The character of the result is only what was predicted by the writer seven years ago,. Kalmus confidently predicted the demise of the beam-splitter camera. How anybody familiar with the theory of colour photography could have imagined for a moment that it was possible to get prints from negatives extracted from a mm.

Kodachrome film which could compare with direct separations defies imagination. The film was English Village, the first British monopack effort. Catling says that they included a colour chart for every shot.

An ultra-violet absorbing filter was used Y-l. The film in this instance seems to have been mm. Kodachrome, since a Vinten camera was employed. Small hand tests were processed at Harrow, but the main film had to be sent to Rochester for processing. Finishing on September 12, no rushes were available until December 3, when a black-and-white cutting print arrived. The colour pilots did not arrive until December Greens were rendered on the hard side, and light-soaked whites had a pinky halation.

Flesh tints tended to be hot. The following August Mr. Catling had not seen his film. It therefore does not seem to be a very practicable proposition in England as yet. Excerpts from the Specifications or abridgements by permission of the Controller of H. Coloured light is used in printing which will reverse or neutralize the effect of difference in the range of film densities in the negative gamma control. For negatives having a high contrast gradient, printing light is used of such wavelength as will produce a positive having a comparatively low contrast gradient, and vice versa.

Thus, for a two-colour process employing red and green taking filters, ultra-violet and blue filters may be used for printing the positives. The process is especially applicable to multicolour printing on a single film in which the contrast gradients cannot be equalized by development. Wall says [ 4 ]: Describes the exposure of two films through the celluloid and the superposition of the two films by cementing them back to back before development.

Technicolor used double-width film at this period, and after printing it was folded with the images outwards. It is stated that the developer is to be pyro, subsequently bleaching with potassium ferrocyanide, fixing with hypo, etching away the soft gelatine, and staining the relief images so obtained. The imbibition film is mounted for development after exposure on a thin metal band, or backing. Steel plated with copper is suggested.

The metal strip ensures perfect registration when printing by imbibition upon a blank film. Processing machinery for dissolving away the unhardened gelatine with hot water which is flowed on to the film at opposite edges from several nozzles. The gradations in the high-lights of imbibition relief images are made more gradual than those in the half-tone parts by exposure of the film to uniformly distributed light, either previously or simultaneously with the contact printing of the image proper.

The film may be rendered absorptive to light of a particular colour, and the uniformly exposing light may be of that colour. The exposure to uniform light may be approximately the threshold exposure, and both exposures are made from the same side of the film, either from the emulsion side or the celluloid side. Either one or all of the images of a multicolour positive may have been thus exposed to uniformly distributed light.

The densities in the shadows of imbibition reliefs are made at least as great as in the half-tone portions. The film is dyed with a dye absorptive to light of short wavelength, and printing is done with a light of short wavelength mixed with a light of long wavelength. A sharp-cutting dye such as naphthol yellow is used, and it is used in as concentrated a form as possible.

Quinoline yellow is mentioned as a restrainer permitting the use of maximum concentration of naphthol yellow. Printing apparatus for imbibition matrices. The machine enables one negative bearing two-colour records in alternating sequence to print two separate positive films; two printing lights are employed, one for each gate.

The type of negative used in this printer is that obtained with a beam-splitter camera of the type described in E. The arrangement of the images is the same as in E. Dyes for imbibition printing are highly purified in such a way as to remove any solid matter or impurities, so that the dye will be absorbed upon the printing matrix in accordance with the density of the printing image, without the formation of self-agglomerating components, and will also be freely imbibed into the receptive gelatine surface without diffusion and without the formation of layers or matter which tends to adhere to the surface or becomes detached from the printing matrix.

To the dye solution may also be added a viscosity agent to prevent lateral diffusion, and this may comprise a second dye having relatively low penetration or dispersion, and high definition with respect to the film to be printed. Two acidified dye compositions for red and green respectively are specified.

In the Hernandez-Mejia patents finally became available, and Technicolor initiated immediate steps toward perfecting a three-color dye-transfer, imbibition print system. This beam-splitter reflected part of the light to an aperture at the left of the lens and allowed the remainder of the light to pass through to a normally located aperture. Three specially hypersensitized films passed through these two apertures. In the rear aperture, a single Super-X Panchromatic film was exposed behind a green filter.

This filter transmitted both red and blue light, but excluded green. Behind the magenta filter were two strips of film, one behind the other. The front film in the bipack, being an orthochromatic emulsion, recorded only the blue components of the light reaching it. The film carried a red-orange dye which absorbed the blue rays, leaving only the red to affect the rear film.

The panchromatic film in the rear of the bipack thus recorded only the remaining red light. The three negatives record the primary color aspects red, green and blue of the scene, but they resemble ordinary black and white negatives. For example, if a red barn were photographed in a green field with a blue sky overhead, the red record negative would have only the image of the barn, the green record negative would have only the image of the field, and the blue record negative would correspondingly have only the image of the sky.

Each of these color separation negatives would then produce a special positive relief image matrix. These positives differ from ordinary positives in that the picture gradations are represented by varying thicknesses of hardened gelatin. This strip, with the superimposed images in precise register, becomes the final completed print used in projection.

Extreme control over the entire process was maintained by the Technicolor Company to insure optimum results. All features were shot on fewer than forty cameras owned and maintained by the company, and all release printing was confined to one of two plants—located in Hollywood and London. The films used in Process Number Four were made exclusively by the Eastman Kodak Company, and they possessed exceptionally low shrinkage rates.

The subsequent registration of the three images was exact to within one-thousandth of an inch, with color fringing all but eliminated on even the largest screens. By May of , the first three-component camera had been completed, and, under the direction of Troland, one unit of the Technicolor plant had been equipped to handle Process Number Four. The difference between the new process and Technicolor Process Number Three was truly extraordinary.

There are now rich, deep blues and it is no longer necessary to avoid or to regret the existence of blue skies, blue water, and blue costumes. The old process presented blurred outlines which were even harder on the eyes than its imperfect colors. Color producers today may again mishandle their medium. But at least they will have good colors, well focused, to abuse. Unfortunately, most producers were unwilling to try the improved system. After failing to interest the feature filmmakers, Kalmus turned his attention to those in the cartoon field.

These initial contacts also proved unsuccessful. Although the Silly Symphony cartoon utilized the new process, a regular animation camera was used. The starting point was staggered one frame for each pass, thus the resulting release print would contain the complete color record. Released in , Flowers and Trees was extremely successful. Within a short period of time the Silly Symphonies series in Technicolor began to make more money than Mickey Mouse films in regular black-and white.

As a result, Disney contracted to produce both utilizing the new process in the spring of , 73 and in , The Band Concert became the first Mickey cartoon in full Technicolor. Kalmus realized this and rewarded Disney by granting him exclusive cartoon rights to both Technicolor processes.

This agreement later became a source of embarrassment. Once the success of color cartoons had been proved, the other producers again came around to Dr. Kalmus to get film—for their cartoons—Dr. Kalmus said he was sorry but he did not have any film for them. This made the producers angry and left Dr. Kalmus in a difficult position.

Mayer would naturally have no goodwill for Technicolor in anything else. And, after all, Dr. Kalmus was thinking of features, not cartoons, as the ultimate Technicolor good. It was almost two full years before competing studios were finally permitted to produce their animated shorts in Process Number Four.

Finally, on September 1, , the exclusive arrangement with Disney expired, and Variety reported:. Tri-color cartoons will dominate the field. The use of Technicolor in feature-length film production was still to come. Picture producers admitted they had been wrong concerning the value of color in cartoons, but none were willing to incur the risk or expense of producing a full-color dramatic film.

In an attempt to spur interest, Technicolor lowered their base print price from 7 cents to 5. In the spring of , Merian C. John Whitney was an unknown to the motion picture industry. In one of his early tests he first photographed, with black and white, a woman dressed in orange, against a green background.

Following this he recorded the same scene with the color camera. Inspection revealed a beautiful blending of colors as the actress moved back and forth in front of the backdrop. Then the designer took an important step which now promises a final combination of art and science. Jones called for first one combination of lights, then another. This time a carefully planned interplay of colored lights proved that color film could be used to psychological advantage. It is altogether likely that Pioneer Pictures will lose money on its early productions, particularly since Mr.

Whitney is determined to turn out pictures slowly, carefully, and expensively. But should Pioneer Pictures be sufficiently successful to inspire a color vogue among the standard producers, Technicolor stock would undoubtedly zoom. This is an important item, because although Mr. Whitney does many things for fun he also does them for money. La Cucaracha an outstanding short. The Technicolor sequence in the ice-cream factory is a fantasy which will please the most fastidious. Rouben Mamoulian replaced Lowell Sherman as director after the later became ill and died during principal photography.

One day prior to its world premiere, Mamoulian told a Variety reporter:. When you look at an object, you see form and color. Pictures are primarily visual. Now with color pictures, the vision gets the other half. With color, pictures are once more primarily visual—and now at last the perfect talking picture approaches. Although its faults are too numerous to earn it distinction as a screen drama, it produces in the spectator all the excitement of standing upon a peak in Darien and glimpsing a strange, beautiful and unexpected new world. As an experiment, it is a momentous event, and it may be that in a few years it will be regarded as the equal in historical importance of the first crude and wretched talking pictures.

Although it is dramatically tedious, it is a gallant and distinguished outpost in an almost unchartered domain, and it probably is the most significant event of the cinema. But one thing is certain about Becky Sharp. Its best is so good that it becomes a prophecy of the future of color on the screen. It forced this column to the conclusion that color will become an Integral motion picture element in the next few years.

Variety held a similar opinion. General consensus of those who have analyzed the picture seem to be that its experimental flaws do not materially detract. Also that film may mark the heyday of the artist as a production ace, just as sound spelled the rise of the electrician. Although Becky Sharp was not an unqualified hit, box-office receipts were encouraging enough for producers to photograph subsequent features with the three-color process. All of these films received mixed, yet generally favorable, reviews for their color work. None, however, approached the visual grandeur of The Trail of the Lonesome Pine , the first feature film utilizing Process Number Four to be photographed entirely on location.

As Fortune magazine reported:. For the three main ingredients of any hit show are cast, story, and setting and Pine is well enough equipped on all three counts to make it attractive to large masses of customers. The story heavy hillbilly drama is a dependable tear jerker. And the setting the Blue Ridge Mountains, hillbilly cabins, slouch hats and shotguns is as commonplace and as satisfying as the U. But with color added to these orthodox boxoffice virtues, Pine has stepped from a second-rank to a near first-rank picture.

Nugent, writing for the New York Times , also took note of the significance of the film, calling it. Color has traveled far since first it exploded on the screen last June in Becky Sharp. The significance of this achievement is not to be minimized. It means that color need not shackle the cinema, but may give it fuller expression. It means that we can doubt no longer the inevitability of the color film or scoff at those who believe that black-and-white photography is tottering on the brink of that limbo of forgotten things which already has swallowed the silent picture.

Chromatically, The Trail of the Lonesome Pine is far less impressive than its pioneer in the field. Becky Sharp employed color as a stylistic accentuation of dramatic effect. It sought to imprison the rainbow in a series of carefully planned canvases that were radiantly startling, visually magnificent, attuned carefully to the mood of the picture and to the changing tempo of its action.

The new picture attempts none of this. Paradoxically, it improves the case for color by lessening its importance. In place of the vivid reds and scarlets, the brilliant purples and dazzling greens and yellows of Becky, it employs sober browns and blacks and deep greens. It may not be natural color, but, at least, it is used more naturally. The eye, accustomed to the shadings of black and white, has less difficulty meeting the demands of the new element; the color is not a distraction, but an attraction—as valuable and little more obtrusive than the musical score.

Outstanding box-office takes were registered throughout the country. In Hartford, The Trail of the Lonesome Pine ran percent above the weekly average, and Fortune listed a number of additional statistics which were not ignored by the industry for long. Its national boxoffice take is said to be 52 percent above average.

Technicolor processed 5,, feet of film in , nearly ,, in and over one billion feet in An estimated nine billion dollars had been invested by in Technicolor films in Hollywood and Great Britain. It had taken twenty years for his dream to come true, and Kalmus had suffered one disappointment after another. Many would have become discouraged and quit.

Kalmus, however, maintained a remarkable level of enthusiasm and. His eventual success—where so many others had failed—is attributable in no small part to this unique blend of persistence and optimism. Perhaps this outlook -was best expressed when he wrote:. But there was something else too; there was always something just ahead, a plan for tomorrow, something exciting to be finished. University of California Press, , p. The Way of all Flesh Tones. In order to produce a three-color subtractive color process a new three-strip beam-splitter camera was developed Fig. The new camera employed a special optical system which exposed the green-sensitive negative film at one picture aperture and a bipack at a second picture aperture.

The bipack consisted of a red-sensitive negative film which was placed emulsion to emulsion with a blue-sensitive negative film. The front element of the bipack was the blue-sensitive film. To prevent any blue and green fight from reaching the rear red-sensitive film, the blue-sensitive emulsion, which was exposed through the base, contained a red-dyed gelatin overcoating which performed the dual function of antihalation layer for the blue negative and a filter which prevented all but the red light from reaching the red negative. After exposure the three negatives were developed to a gamma of in a conventional black and white developer, fixed, washed and dried.

As in the two-color process these matrices were developed in a tanning developer which tanned the gelatin in the image bearing areas leaving the remainder of the film unaffected. After washing the film was immersed in a ferricyanide bleach which converted the silver in the image to silver halide. This was followed by a hot water etch which removed the main image-bearing gelatin leaving a relief image. The thickness of the relief varied with the density of the image which produced it. The silver that had been converted by the bleach was then removed by immersion in a fixing bath.

The three matrices then had a hardened gelatin relief image which corresponded to the red, green and blue components of the picture, and were ready for imbibition printing. Before the actual transfer was made to the blank transfer film, the sound track was printed from a black and white optical sound negative. From this a silver sound track was developed using a normal black and white developer.