3 strip technicolor

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Following its incorporation in , Technicolor developed a series of two-color processes as necessary steps toward full-color photography and printing. Two-strip Technicolor feature films like The Gulf Between , The Toll of the Sea , Wanderer of the Wasteland and The Black Pirate each showed tremendous promise in photography and color design, but implementation flaws resulted in technical problems and commercial failure. After a series of technical and financial stumbles during the early s, Technicolor rebounded with its new three-color process. The camera required an entirely new design, although it utilized many of the same principles already developed for two-color photography, such as a beam-splitting prism. The camera captured crisp, vibrant colors that were then recombined in printing. The Technicolor three-strip camera captured separate color records onto three strips of film.

List of Three-strip Technicolor films (1935-1955)

Technicolor - Wikipedia

The table lists some of the movies filmed in and theatrically released using the three-strip Technicolor process, also known as "Process 4". The first film using this process was the animated short Flowers and Trees , whereas the first live action feature was Becky Sharp , released in From Wikipedia, the free encyclopedia. Wikipedia list article. This article is missing information about in a few places, and the table needs films, studios, and cinematographer pages linked. Please expand the article to include this information.

Technicolor

Through connection with Walt Disney — , the three-strip Technicolor process that achieved worldwide fame was brought into being. In a process of "successive exposure," animated material was filmed three times through a red, a blue, and a green filter to produce three black-and-white records that were transposed onto three dyeable matrices. Important here was the use of panchromatic—rather than orthochromatic—black-and-white stock: this responded not only to blue and violet light but also to yellow and red light, thus making possible a fulsome and richly accurate record in black and white of the full range of color in a scene.
Becky Sharp went before the Technicolor cameras in December of The untimely death of its original director, Lowell Sherman, a month later, caused the picture to be restarted when Rouben Mamoulian took over the megaphone. Using Kodak panchromatic film which had an equivalent rating of approximately ASA 5 after the light passed through filters and beam splitters, photography required terrific amounts of light. Seen above is the beautiful Miriam Hopkins on the floor, Director of Photography, Ray Rennahan a Technicolor icon sitting on the stool with legs crossed, and Director Mamoulian, appearing to be incubating his eggs while sitting on a light in front of the camera.