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Technicolor for Industrial Films 1949 Technicolor Motion Picture Corporation
🕑 Added 2019-07-14 05:11:00 +0000 UTCmore at http://quickfound.net/
'Technicolor motion pictures in full, natural color are available for use in the industrial motion picture field using the same skilled personnel, facilities and processing as are used in Technicolor studio features...'
Originally a public domain film from the Library of Congress Prelinger Archives, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
https://en.wikipedia.org/wiki/Technicolor
Wikipedia license: http://creativecommons.org/licenses/by-sa/3.0/
Technicolor is a series of color motion picture processes, the first version dating to 1916, and followed by improved versions over several decades.
It was the second major color process, after Britain's Kinemacolor, and the most widely used color process in Hollywood from 1922 to 1952. Technicolor became known and celebrated for its highly saturated color, and was initially most commonly used for filming musicals such as The Wizard of Oz (1939) and Down Argentine Way (1940), costume pictures such as The Adventures of Robin Hood (1938) and Gone with the Wind (1939), and animated films such as Snow White and the Seven Dwarfs (1937), Gulliver's Travels (1939), and Fantasia (1940). As the technology matured it was also used for less spectacular dramas and comedies. Occasionally, even a film noir—such as Leave Her to Heaven (1945) or Niagara (1953)—was filmed in Technicolor...
Technicolor envisioned a full-color process as early as 1924 and was actively developing such a process by 1929... By 1931, however, the Great Depression took its toll on the movie industry, which began to cut back on expenses. The production of color films had decreased dramatically by 1932, when Burton Wescott and Joseph A. Ball completed work on a new three-color movie camera. Technicolor could now promise studios a full range of colors, as opposed to the limited red-green spectrum of previous films. The new camera simultaneously exposed three strips of black-and-white film, each of which recorded a different color of the spectrum. The new process would last until the last Technicolor feature film was produced in 1955...
Technicolor's advantage over most early natural-color processes was that it was a subtractive synthesis rather than an additive one: unlike the additive Kinemacolor and Chronochrome processes, Technicolor prints did not require any special projection equipment...
The Technicolor Process 4 camera, manufactured to Technicolor's detailed specifications by Mitchell Camera Corporation, contained color filters, a beam splitter consisting of a partially reflecting surface inside a split-cube prism, and three separate rolls of black-and-white film (hence the "three-strip" designation). The beam splitter allowed ⅓ of the light coming through the camera lens to pass through the reflector and a green filter and form an image on one of the strips, which therefore recorded only the green-dominated third of the spectrum. The other ⅔ was reflected sideways by the mirror and passed through a magenta filter, which absorbed green light and allowed only the red and blue thirds of the spectrum to pass. Behind this filter were the other two strips of film, their emulsions pressed into contact face to face. The front film was a red-blind orthochromatic type that recorded only the blue light. On the surface of its emulsion was a red-orange coating that prevented blue light from continuing on to the red-sensitive panchromatic emulsion of the film behind it, which therefore recorded only the red-dominated third of the spectrum.
Each of the three resulting negatives was printed onto a special matrix film. After processing, each matrix was a nearly invisible representation of the series of film frames as gelatin reliefs, thickest (and most absorbent) where each image was darkest and thinnest where it was lightest. Each matrix was soaked in a dye complementary to the color of light recorded by the negative printed on it: cyan for red, magenta for green, and yellow for blue (see also: CMYK color model for a technical discussion of color printing).
A single clear strip of black-and-white film with the soundtrack and frame lines printed in advance was first treated with a mordant solution and then brought into contact with each of the three dye-loaded matrix films in turn, building up the complete color image. Each dye was absorbed, or imbibed, by the gelatin coating on the receiving strip rather than simply deposited onto its surface, hence the term "dye imbibition".
