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Kalmus developed an interest in creating a viable natural color motion picture process after taking on a commission to produce a "flicker-free" movie system, and Technicolor Corporation was founded in The "Tech" in Technicolor was derived from their association with the Massachusetts Institute of Technology. And the name had a nice ring to it. The company's first color process was a two color additive system similar to Kinemacolor but with two major differences.
The Technicolor camera recorded the red and blue-green images simultaneously through a single lens using a beam splitter and color filters to record the images stacked one on top of the other. No rotating color wheel was involved in either the camera or projector. The print was a conventional black and white record that ran through a special projector with two apertures and lenses with color filters adding the tint.
Technicolor camera 1, the only one built and used for photography in system 1. Appropriate colours could then be applied in the laboratory through a dye transfer process. But only 29 of the bulky DF cameras existed. But three-strip began to be employed on more routine outings as the Hollywood studios sought to lure audiences away from their monochrome television sets.
Ultimately, around 1, Technicolor features were produced into the mids before Eastman introduced a colour monopack that could be used in a conventional camera. They provide an unabashedly stylised contrast with colours achieved using light-on-emulsion celluloids and modern digital processes.
Cinematographer nephew Claude Renoir had attended a training course and could handle the cumbersome camera. But he was surprised that the Indian sun lacked the intensity to complement the giant klieg lights that boosted on-set temperatures to a stifling degree. Shooting was delayed while a more powerful generator was dispatched, and the Renoirs were further hindered by the day wait to see their rushes, as the nearest Technicolor laboratory was in London. Yet, the results they achieved were exquisite, as Renoir intercut the domestic scenes with documentary footage of everyday life on the banks of the Ganges.
It was temperamental and had to be brought into each theater in a portable fireproof booth. Kalmus despaired that it required an operator who was "a cross between a college professor and an acrobat. Even at this early stage of the industry, Thomas Edison and other film innovators had already worked out how to make money from movies: standardized equipment.
When every theater had the same projector, you could show your film anywhere. Technicolor Process 1 was the opposite of that. And like 3D today, after the initial novelty wore off, customers weren't prepared to pay a premium.
The movie spanned six or seven reels of film, roughly twice as many reels as other flicks of the time, because there was a red frame and a green frame for every moment. Sadly, none of the film survives today. The only remaining traces of this grand filmmaking experiment are a couple of restored frames and some behind-the-scenes photos in the George Eastman Museum, the Smithsonian Institute and the Motion Picture Academy's library.
After the disastrous New York screening, Kalmus and Comstock were reportedly "in the depths of despair. After a break when the US entered World War I -- Comstock went off to develop submarine detection gear -- they carried the lessons of Technicolor Process 1 into researching Technicolor Process 2.
The first lesson was to switch from a problem-plagued additive color system to subtractive color, the basis of modern color filmmaking that captured a more natural range of color and didn't require a special projector. The company ultimately went through five Technicolor processes. Tech Culture : From film and television to social media and games, here's your place for the lighter side of tech.
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Richard Trenholm. But the creators of Technicolor persevered.
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