Technicolor Process 1 (Additive System) - The Gulf Between (1917): A prism beam-splitter behind the camera lens exposed two consecutive frames of a single strip of black-and-white negative film simultaneously, one behind a red filter, the other behind a green filter.

Process 2 (Subtractive System) - Toll of the Sea (1922), The Phantom of the Opera (1925), The Black Pirate (1926): The frames exposed behind the green filter were printed on one strip of black-and-white film, and the frames exposed behind the red filter were printed on another strip. After development, each strip was toned to a color complementary to that of the filter—red for the green-filtered images, green for the red-filtered.

Process 3 - Mystery of the Wax Museum (1933): Every other frame of the camera negative was printed onto one strip of specially prepared gelatin film (or “matrix”) to create a red record, and the remaining frames were printed onto a second strip of blank film to create a green record.

Process 4 - The light passing through the camera lens was split into two beam paths by a prism block. Green light was recorded through a green filter on panchromatic film, while the other half of the light passed through a magenta filter and was recorded on bipack film stock with two strips running base to base. On this stock, the front film was sensitized to blue light only, backed by a red gelatin layer which acted as a light filter to the panchromatic film behind it.

NOTE(You can delete this if you want to reblog it. This is really huge, I’m so sorry omfg): The Technicolor process took years and years of input and persistence of the company’s part. This is nowhere near accurate to everything there is to know, mostly because you can read the exact same thing on Wikipedia. If you’re interested in it you can read this and several other articles on the internet which were of enormous help to me.

(via filmsploitation)

Source cliftonwebb

Reblogged from tw heterophobia


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