Information AboutCinecolor |
| CATEGORIES ABOUT CINECOLOR | |
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HOW CINECOLOR WORKED Like most early color processes, Cinecolor used two color records on negative: a Red strip and a Blue / Cyan strip to produce color tones. A camera capable of loading Bi-pack film recorded color with both a blue sensitive and red sensitive negative. While Cinecolor could produce vibrant reds, oranges, blues, browns and flesh tones, its renderings of other colors were often muted, such as bright greens (rendered Dark Green ) and Purple s (rendered Dark Magenta ). Nevertheless, Cinecolor was used extensively by the film industry, particularly in Animation , where Walt Disney held an exclusive contract to use three-strip Technicolor from 1932 until the end of 1935 . HISTORY Before 1945, Cinecolor was used almost exclusively for short films. Among the notable animated Short Subject s series made in Cinecolor were Ub Iwerks ' '' Comicolor '' cartoons, the Fleischer Studio 's early '' Color Classics '', a number of late- 1940s Warner Bros. '' Looney Tunes '' and '' Merrie Melodies '', and many of Famous Studios ' late- 1940s '' Popeye The Sailor '' cartoons. Cinecolor was also prominently employed in Paramount 's '' Popular Science '' actuality shorts. Hal Roach began making all of his product in Cinecolor in 1947, becoming the first Hollywood producer to make all of his output in color. Most features made in Cinecolor were westerns, because the primary colors in those films were blues, browns and reds. 1948 and the introduction of SuperCineColor 1948 was a major year for the Cinecolor Corporation. Aside from growing stock prices, they introduced 1000' Film Magazines , which cut back on the lighting costs by 50%, and kept the cost of shooting in Cinecolor only 20% more than black and white. Cinecolor also developed a three-color process called SuperCineColor, but did not begin using it until 1951 with '' The Sword Of Monte Cristo ''. Other films of note that used the SuperCinecolor process were '' Invaders From Mars '', '' Abbott & Costello Meet Captain Kidd '', '' Jack And The Beanstalk '', '' Gog '', and '' Top Banana '' (the latter two were both shot in 3-D ). SuperCineColor utilized black and white matrices made primarily by Monopak color negatives made with Ansco/ Agfa , DuPont , Kodachrome , or the popular Eastmancolor film, for principal photography. After the negative was edited, it was copied through color filters into three black and white negatives. An oddity of the system was that rather than use the typical cyan, magenta and yellow primary subtractive colors, SuperCineColor printed their films with red, blue and yellow matrices, which gave an oddly striking look to the final print. The process entailed a triple Emulsion process, in which one side contained a silver emulsion toned red-magenta, and a double-layer emulsion on the other with yellow and cyan-blue. The soundtrack was subsiquently printed on the blue-yellow side in a blue soundtrack, but separate from those records. The final prints had vivid dyes that did not fade, and contrary to popular opinion, were no grainier than Technicolor prints and were just as sharp in focus. Both of these myths seems to be purpotrated by 16 mm regular-process Cinecolor prints. The last years of Cinecolor In 1953, the Cinecolor corporation became the Color Corporation of America, and specialized in SuperCineColor printing, as well as a major Anscocolor processor. Color Corporation of America were bought out by Houston Fearless on April 8, 1954 , and became strictly an Anscocolor processor. EXTERNAL LINKS |
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