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72-489: Vengeance Valley is a 1951 American Technicolor Western film directed by Richard Thorpe and starring Burt Lancaster , with a supporting cast featuring Robert Walker , Joanne Dru , Sally Forrest , John Ireland and Ray Collins . It is based on the novel by Luke Short . In 1979, the film entered the public domain in the United States because Metro-Goldwyn-Mayer did not renew its copyright registration in

144-524: A Radio Picture entitled The Runaround (1931). The new process not only improved the color but also removed specks (that looked like bugs) from the screen, which had previously blurred outlines and lowered visibility. This new improvement along with a reduction in cost (from 8.85 cents to 7 cents per foot) led to a new color revival. Warner Bros. took the lead once again by producing three features (out of an announced plan for six features): Manhattan Parade (1932), Doctor X (1932) and Mystery of

216-424: A beam splitter consisting of a partially reflecting surface inside a split-cube prism , color filters , and three separate rolls of black-and-white film (hence the "three-strip" designation). The beam splitter allowed one-third 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

288-477: 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". Strictly speaking, this is a mechanical printing process most closely related to Woodburytype and very loosely comparable to offset printing or lithography , and not

360-404: A Technicolor cartoon sequence "Hot Choc-late Soldiers" produced by Walt Disney. On July 28 of that year, Warner Bros. released Service with a Smile , followed by Good Morning, Eve! on September 22, both being comedy short films starring Leon Errol and filmed in three-strip Technicolor. Pioneer Pictures , a movie company formed by Technicolor investors, produced the film usually credited as

432-546: A black-and-white picture again." Although Disney's first 60 or so Technicolor cartoons used the three-strip camera, an improved "successive exposure" ("SE") process was adopted c.  1937 . This variation of the three-strip process was designed primarily for cartoon work: the camera would contain one strip of black-and-white negative film, and each animation cel would be photographed three times, on three sequential frames, behind alternating red, green, and blue filters (the so-called "Technicolor Color Wheel", then an option of

504-450: A green filter and one behind a red filter. The difference was that the two-component negative was now used to produce a subtractive color print. Because the colors were physically present in the print, no special projection equipment was required and the correct registration of the two images did not depend on the skill of the projectionist. The frames exposed behind the green filter were printed on one strip of black-and-white film, and

576-458: A gun, but they are interrupted by the sheriff. At the Strobie ranch Owen tells Arch that now that Lee is married Arch, who has been crippled for 20 years, doesn't need Owen's help any longer. Arch explains that he took Owen in because he needed him to help to run the ranch and to keep Lee in line, and that he still does. Owen agrees to stay. Lily and Dick's brother Hub arrives by train and tells

648-565: A heavy rainstorm Allard misses the telegraph office and ends up at Owen's camp. He tells Owen that he has bought the Strobie cattle. Owen is surprised but says nothing to Allard, but later tells Hewie he thought Lee might do something like this. Hewie admits he has feelings for Lily. When the two divisions meet Owen tells Lee he knows what's up. Hewie spots the Faskens and tells Owen. Owen realises Lee must have known but said nothing to him. Lee later tells Owen he has changed his mind and will cancel

720-403: A murderer and kicks him out. Joshua uses information about his father's affair to see his dying mother, who, after reminiscing about the past, asks him to go to his grandmother's birthday party, which Joshua agrees to. On the day of the party, Joshua meets with his friends to kidnap the jeweler. They take him to the dump where Joshua kills the man, before burning the body in the furnace. They wipe

792-445: A photographic one, as the actual printing does not involve a chemical change caused by exposure to light. During the early years of the process, the receiver film was preprinted with a 50% black-and-white image derived from the green strip, the so-called Key, or K, record. This procedure was used largely to cover up fine edges in the picture where colors would mix unrealistically (also known as fringing ). This additional black increased

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864-601: A possible shot-in-the-arm for the ailing industry. In November 1933, Technicolor's Herbert Kalmus and RKO announced plans to produce three-strip Technicolor films in 1934, beginning with Ann Harding starring in a projected film The World Outside . Live-action use of three-strip Technicolor was first seen in a musical number of the Metro-Goldwyn-Mayer feature The Cat and the Fiddle , released February 16, 1934. On July 1, MGM released Hollywood Party with

936-428: A profit of $ 3,138,000. The final scenes are shown in the film Little Odessa . Technicolor Technicolor is a family of color motion picture processes. The first version, Process 1, was introduced in 1916, and improved versions followed over several decades. Definitive Technicolor movies using three black-and-white films running through a special camera (3-strip Technicolor or Process 4) started in

1008-453: A river and Owen catches up with him. Owen says they're going to tell Arch everything. Lee says he won't go, thinking he can draw faster than Owen. He draws but Owen is faster and kills him. Owen tells Arch the whole story. Arch says it his own fault for not straightening Lee out himself. According to MGM records the film earned $ 1,997,000 in the US and Canada and $ 1,149,000 elsewhere, resulting in

1080-750: A synchronized score and sound effects. Redskin (1929), with a synchronized score, and The Mysterious Island (1929), a part-talkie, were photographed almost entirely in this process also but included some sequences in black and white. The following talkies were made entirely – or almost entirely – in Technicolor Process 3: On with the Show! (1929) (the first all-talking color feature), Gold Diggers of Broadway (1929), The Show of Shows (1929), Sally (1929), The Vagabond King (1930), Follow Thru (1930), Golden Dawn (1930), Hold Everything (1930), The Rogue Song (1930), Song of

1152-441: Is riding his bike, two of Volkoff's men push him to the ground and tell him that Joshua is a dead man. With the mafia pursuing him, Joshua stays at Alla's. Volkoff's men look for Joshua and search Alla's neighborhood. Reuben finds out from Sasha where Joshua is and rides there on his bike to warn his brother. One of Volkoff's men finds Alla outside hanging out laundry and shoots her before escaping. Reuben finds Alla's body and shoots

1224-532: Is spotted by one of his old friends Sasha, who tells Joshua's brother Reuben the next day. Reuben goes to the hotel where Joshua is staying to see him. Joshua asks Reuben how he knew he was in Brighton, and they plan to meet again the next day. Joshua waits near the boardwalk where Sasha is and intimidates him to tell who else knows about Joshua being in Brighton. Sasha brings Joshua to the car repair stand where Viktor and Yuri are. Joshua says they will help him find

1296-508: Is the father of Lily's baby but Jen doesn't believe him. Jen threatens to leave, but Owen talks her out of it saying Arch needs them both. Later, Lee finds Jen has locked him out of their bedroom. He tells Arch he wants to go out on his own. Arch asks what it will take to make him stay. Lee says a half share of the ranch. Arch reluctantly agrees, saying Owen will inherit the other half when Arch retires or dies. Owen, Lee and Hewie track four of their stolen steers to Herb Backett's. Owen can't prove

1368-404: The spectrum . The other two-thirds 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

1440-524: The 28th year after publication. Owen Daybright is the foreman at the Colorado cattleman Arch Strobie's ranch and is also Strobie's foster son. When Owen and his foster brother Lee Strobie visit the local saloon they hear that Lily Fasken has had a baby. The doctor says he didn't attend the birth because the father didn't ask for him. Lee is very interested in the birth. Owen takes some food, and $ 500, to Lily and find's Lee's wife Jen and Lily's brother Dick at

1512-518: The Acme, Producers Service and Photo-Sonics animation cameras). Three separate dye transfer printing matrices would be created from the red, green, and blue records in their respective complementary colors, cyan, magenta and yellow. Successive exposure was also employed in Disney's "True Life Adventure" live-action series, wherein the original 16mm low-contrast Kodachrome Commercial live action footage

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1584-731: The Bell Tolls : Little Odessa (film) The film follows the personal relationship between Arkady Shapira, his terminally ill wife Irina, and their two sons, Joshua and Reuben. Joshua, the elder brother, is a hit-man for the Russian-Jewish mafia in Brooklyn and estranged from his family. After finishing a contract killing, Joshua is ordered to kill an Iranian jeweler in Brighton Beach , which he reluctantly accepts. Joshua stands outside his family's apartment, where he

1656-759: The Flame (1930), Song of the West (1930), The Life of the Party (1930), Sweet Kitty Bellairs (1930), Bride of the Regiment (1930), Mamba (1930), Whoopee! (1930), King of Jazz (1930), Under a Texas Moon (1930), Bright Lights (1930), Viennese Nights (1930), Woman Hungry (1931), Kiss Me Again (1931) and Fifty Million Frenchmen (1931). In addition, many feature films were released with Technicolor sequences. Numerous short subjects were also photographed in Technicolor Process 3, including

1728-523: The Iranian jeweler and when they refuse, Joshua threatens them. When a man notices Joshua walking on the street, Joshua follows him to a phone booth and shoots him dead to avoid being exposed, angering neighborhood boss Boris Volkoff. Joshua starts dating his ex-girlfriend Alla Shustervich, who asks Reuben if he has seen Joshua anywhere, and the trio see a movie together. Eventually, Reuben takes Joshua home to see his parents again, but Arkady denounces him as

1800-515: The Wasteland , was released in 1924. Process 2 was also used for color sequences in such major motion pictures as The Ten Commandments (1923), The Phantom of the Opera (1925), and Ben-Hur (1925). Douglas Fairbanks ' The Black Pirate (1926) was the third all-color Process 2 feature. Although successful commercially, Process 2 was plagued with technical problems. Because the images on

1872-487: The Wax Museum (1933). Radio Pictures followed by announcing plans to make four more features in the new process. Only one of these, Fanny Foley Herself (1931), was actually produced. Although Paramount Pictures announced plans to make eight features and Metro-Goldwyn-Mayer promised two color features, these never materialized. This may have been the result of the lukewarm reception to these new color pictures by

1944-631: The Wind (1939), the film Blue Lagoon (1949), and animated films such as Snow White and the Seven Dwarfs (1937), Gulliver's Travels (1939), Pinocchio (1940), 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. The "Tech" in

2016-544: The additive Kinemacolor and Chronochrome processes, Technicolor prints did not require any special projection equipment. Unlike the additive Dufaycolor process, the projected image was not dimmed by a light-absorbing and obtrusive mosaic color filter layer. Very importantly, compared to competing subtractive systems, Technicolor offered the best balance between high image quality and speed of printing. The Technicolor Process 4 camera, manufactured to Technicolor's detailed specifications by Mitchell Camera Corporation, contained

2088-460: The areas corresponding to the clearest, least-exposed areas of the negative. To make each final color print, the matrix films were soaked in dye baths of colors nominally complementary to those of the camera filters: the strip made from red-filtered frames was dyed cyan-green and the strip made from green-filtered frames was dyed orange-red. The thicker the gelatin in each area of a frame, the more dye it absorbed. Subtle scene-to-scene colour control

2160-645: The company's name was inspired by the Massachusetts Institute of Technology , where Herbert Kalmus and Daniel Frost Comstock received their undergraduate degrees in 1904 and were later instructors. The term "Technicolor" has been used historically for at least five concepts: Both Kalmus and Comstock went to Switzerland to earn PhD degrees; Kalmus at University of Zurich , and Comstock at Basel in 1906. In 1912, Kalmus, Comstock, and mechanic W. Burton Wescott formed Kalmus, Comstock, and Wescott, an industrial research and development firm. Most of

2232-459: The company, and Technicolor Inc. was chartered in Delaware. Technicolor originally existed in a two-color (red and green) system . In Process 1 (1916), 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. Because two frames were being exposed at

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2304-535: The contrast of the final print and concealed any fringing. However, overall colorfulness was compromised as a result. In 1944, Technicolor had improved the process to make up for these shortcomings and the K record was eliminated. Kalmus convinced Walt Disney to shoot one of his Silly Symphony cartoons, Flowers and Trees (1932), in Process 4, the new "three-strip" process. Seeing the potential in full-color Technicolor, Disney negotiated an exclusive contract for

2376-413: The cupped ones could be shipped to their Boston laboratory for flattening, after which they could be put back into service, at least for a while. The presence of image layers on both surfaces made the prints especially vulnerable to scratching, and because the scratches were vividly colored they were very noticeable. Splicing a Process 2 print without special attention to its unusual laminated construction

2448-506: The early 1930s and continued through to the mid-1950s, when the 3-strip camera was replaced by a standard camera loaded with single-strip "monopack" color negative film. Technicolor Laboratories were still able to produce Technicolor prints by creating three black-and-white matrices from the Eastmancolor negative (Process 5). Process 4 was the second major color process, after Britain's Kinemacolor (used between 1909 and 1915), and

2520-560: The early patents were taken out by Comstock and Wescott, while Kalmus served primarily as the company's president and chief executive officer. When the firm was hired to analyze an inventor's flicker-free motion picture system, they became intrigued with the art and science of filmmaking, particularly color motion picture processes, leading to the founding of Technicolor in Boston in 1914 and incorporation in Maine in 1915. In 1921, Wescott left

2592-495: The feature film industry would soon be turning out color films exclusively. By 1931, however, the Great Depression had taken its toll on the film 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

2664-464: The film had an extremely slow speed of ASA 5. That, and the bulk of the cameras and a lack of experience with three-color cinematography made for skepticism in the studio boardrooms. An October 1934 article in Fortune magazine stressed that Technicolor, as a corporation, was rather remarkable in that it kept its investors quite happy despite the fact that it had only been in profit twice in all of

2736-412: The first color sound cartoons by producers such as Ub Iwerks and Walter Lantz . Song of the Flame became the first color movie to use a widescreen process (using a system known as Vitascope , which used 65mm film). In 1931, an improvement of Technicolor Process 3 was developed that removed grain from the Technicolor film, resulting in more vivid and vibrant colors. This process was first used on

2808-406: The first live-action short film shot in the three-strip process, La Cucaracha released August 31, 1934. La Cucaracha is a two-reel musical comedy that cost $ 65,000, approximately four times what an equivalent black-and-white two-reeler would cost. Released by RKO , the short was a success in introducing the new Technicolor as a viable medium for live-action films. The three-strip process also

2880-422: The frames exposed behind the red filter were printed on another strip. After development, each print was toned to a color nearly complementary to that of the filter: orange-red for the green-filtered images, cyan-green for the red-filtered ones. Unlike tinting, which adds a uniform veil of color to the entire image, toning chemically replaces the black-and-white silver image with transparent coloring matter, so that

2952-619: The furnace for cremation. Little Odessa earned a Silver Lion at the Venice Film Festival and the prestigious Grand Prix of the Belgian Film Critics Association . It also earned admiration from French New Wave filmmaker Claude Chabrol . It was nominated for five Independent Spirit Awards . On review aggregator Rotten Tomatoes , the film holds a 53% "Rotten" score with an average rating of 5.4/10, based on 19 reviews. On Metacritic ,

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3024-442: The gate, it cooled and the bulge subsided, but not quite completely. It was found that the cemented prints were not only very prone to cupping, but that the direction of cupping would suddenly and randomly change from back to front or vice versa, so that even the most attentive projectionist could not prevent the image from temporarily popping out of focus whenever the cupping direction changed. Technicolor had to supply new prints so

3096-567: The gun clean of prints and drop it near the furnace. Reuben witnesses the killing, and takes the gun from the murder scene. Arkady discovers that Reuben has been skipping school for two months and beats him. Upon seeing Reuben's bruised face, Joshua brings Arkady to a snowy field and prepares to kill him, but loses his nerve after Arkady tells him that there's nowhere left for him to go in Brighton Beach. Afterwards, Arkady relinquishes his son to Volkoff and Irina dies. The next day when Reuben

3168-523: The highlights remain clear (or nearly so), dark areas are strongly colored, and intermediate tones are colored proportionally. The two prints, made on film stock half the thickness of regular film, were then cemented together back to back to create a projection print. The Toll of the Sea , which debuted on November 26, 1922, used Process 2 and was the first general-release film in Technicolor. The second all-color feature in Process 2 Technicolor, Wanderer of

3240-459: The house. Dick has been trying all day to find out who the father of Lily's baby is. Owen is very concerned for Lily's welfare. Jen asks him who the father is but Owen doesn't reply. Dick suspects that Owen is the father but Jen tells him that it isn't as Owen is a good man. Back at the saloon Lee thanks Owen for helping Lily and covering up for him, saying he can't admit being the father as Jen wouldn't understand. Dick arrives and threatens Owen with

3312-447: The introduction of color did not increase the number of moviegoers to the point where it was economical. This and the Great Depression severely strained the finances of the movie studios and spelled the end of Technicolor's first financial successes. Technicolor envisioned a full-color process as early as 1924, and was actively developing such a process by 1929. Hollywood made so much use of Technicolor in 1929 and 1930 that many believed

3384-418: 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

3456-629: The materials. Original Technicolor prints that survived into the 1950s were often used to make black-and-white prints for television and simply discarded thereafter. This explains why so many early color films exist today solely in black and white. Warner Bros., which had vaulted from a minor exhibitor to a major studio with its introduction of the talkies , incorporated Technicolor's printing to enhance its films. Other producers followed Warner Bros.' example by making features in color, with either Technicolor, or one of its competitors, such as Brewster Color and Multicolor (later Cinecolor ). Consequently,

3528-642: The most widely used color process in Hollywood during the Golden Age of Hollywood . Technicolor's three-color process 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), Down Argentine Way (1940), and Meet Me in St. Louis (1944), costume pictures such as The Adventures of Robin Hood (1938) and Gone with

3600-464: The only movie made in Process 1, The Gulf Between , which had a limited tour of Eastern cities, beginning with Boston and New York on September 13, 1917, primarily to interest motion picture producers and exhibitors in color. The near-constant need for a technician to adjust the projection alignment doomed this additive color process. Only a few frames of The Gulf Between , showing star Grace Darmond , are known to exist today. Convinced that there

3672-432: The projection print made of double-cemented prints in favor of a print created by dye imbibition . The Technicolor camera for Process 3 was identical to that for Process 2, simultaneously photographing two consecutive frames of a black-and-white film behind red and green filters. In the lab, skip-frame printing was used to sort the alternating color-record frames on the camera negative into two series of contiguous frames,

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3744-510: The public. Two independently produced features were also made with this improved Technicolor process: Legong: Dance of the Virgins (1934) and Kliou the Tiger (1935). Very few of the original camera negatives of movies made in Technicolor Process 2 or 3 survive. In the late 1940s, most were discarded from storage at Technicolor in a space-clearing move, after the studios declined to reclaim

3816-441: The red-filtered frames being printed onto one strip of specially prepared "matrix" film and the green-filtered frames onto another. After processing, the gelatin of the matrix film's emulsion was left proportionally hardened, being hardest and least soluble where it had been most strongly exposed to light. The unhardened fraction was then washed away. The result was two strips of relief images consisting of hardened gelatin, thickest in

3888-502: The sale to Allard but wants Owen to go with him to help cancel the deal. In the meantime the Faskens are waiting to ambush Owen. The Faskens shoot Owen who falls from his horse, but he is only slightly wounded. Lee rides away. Hewie hears the shooting and takes some men to find out what is happening. Owen shoots Dick and when Hud sees Hewie and the others arrive he rides off, but is shot when the others are close enough. Owen recovers his horse and goes after Lee. Lee falls off his horse crossing

3960-573: The same time, the film had to be photographed and projected at twice the normal speed. Exhibition required a special projector with two apertures (one with a red filter and the other with a green filter), two lenses, and an adjustable prism that aligned the two images on the screen. The results were first demonstrated to members of the American Institute of Mining Engineers in New York on February 21, 1917. Technicolor itself produced

4032-412: The second would-be assassin. Sasha arrives on the spot and, seeing somebody behind the sheets that Alla had hung out to dry, immediately shoots the person through the sheet, believing it is one of the men looking for Joshua. When he looks behind the sheet, he realizes that he has killed Reuben; he runs off before Joshua can show up. Afterwards, Joshua finds Reuben and takes his body, wrapped in the sheet, to

4104-446: The sheriff he's going to kill somebody, but he doesn't know who, yet. Dick tells Jen he will get the truth out of Owen. Owen and ranch-hand Hewie visit Mrs Grant, where Lily is staying. Dick and Hub arrive soon afterwards. Dick and Owen fight before Lily interrupts them armed with a gun. She tells Owen to take her brothers to the sheriff. Jen finds out that Lee has taken $ 500 out of their joint account. She confronts Lee who says that Owen

4176-455: The spring roundup after they get out of jail. This will give them a chance to go after Owen. The roundup is split into east and west divisions, with Owen and the Strobie ranch hands in one and Lee and the Fasken brothers, who he admits knowing but claims not to like, in the other. Lee arranges to sell the Strobie steers to Dave Allard. Allard rides off to the telegraph office to arrange payment. In

4248-527: The steers were there and beats up Backett, getting a knife wound in the process, before he and Hewie take four of Backett's steers as "compensation". Lee takes no part in the fight nor the taking of the steers and offers to pay Backett for them. Backett agrees but says he will get even with Owen. Lee is unconcerned. Later, during a party at their ranch, a drunken Lee interrupts Jen after she has dressed Owen's wound, and mistakenly concludes Owen and Jen are carrying on. Lee plots with Backett to have Dick and Hub join

4320-480: 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

4392-494: The three-strip process. One Silly Symphony , Three Little Pigs (1933), engendered such a positive audience response that it overshadowed the feature films with which it was shown. Hollywood was buzzing about color film again. According to Fortune magazine, " Merian C. Cooper , producer for RKO Radio Pictures and director of King Kong (1933), saw one of the Silly Symphonies and said he never wanted to make

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4464-475: The two sides of the print were not in the same plane, both could not be perfectly in focus at the same time. The significance of this depended on the depth of focus of the projection optics. Much more serious was a problem with cupping. Films in general tended to become somewhat cupped after repeated use: every time a film was projected, each frame in turn was heated by the intense light in the projection gate, causing it to bulge slightly; after it had passed through

4536-608: The use of the process in animated films that extended to September 1935. Other animation producers, such as the Fleischer Studios and the Ub Iwerks studio, were shut out – they had to settle for either the two-color Technicolor systems or use a competing process such as Cinecolor . Flowers and Trees was a success with audiences and critics alike, and won the first Academy Award for Best Animated Short Film . All subsequent Silly Symphonies from 1933 on were shot with

4608-405: The years of its existence, during the early boom at the turn of the decade. A well-managed company, half of whose stock was controlled by a clique loyal to Kalmus, Technicolor never had to cede any control to its bankers or unfriendly stockholders. In the mid-'30s, all the major studios except MGM were in the financial doldrums, and a color process that truly reproduced the visual spectrum was seen as

4680-412: Was apt to result in a weak splice that would fail as it passed through the projector. Even before these problems became apparent, Technicolor regarded this cemented print approach as a stopgap and was already at work developing an improved process. Based on the same dye-transfer technique first applied to motion pictures in 1916 by Max Handschiegl, Technicolor Process 3 (1928) was developed to eliminate

4752-412: 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

4824-641: Was first duplicated onto a 35mm fine-grain SE negative element in one pass of the 16mm element, thereby reducing wear of the 16mm original, and also eliminating registration errors between colors. The live-action SE negative thereafter entered other Technicolor processes and were incorporated with SE animation and three-strip studio live-action, as required, thereby producing the combined result. The studios were willing to adopt three-color Technicolor for live-action feature production, if it could be proved viable. Shooting three-strip Technicolor required very bright lighting, as

4896-399: Was managed by partial wash-back of the dyes from each matrix. Each matrix in turn was pressed into contact with a plain gelatin-coated strip of film known as the "blank" and the gelatin "imbibed" the dye from the matrix. A mordant made from deacetylated chitin was applied to the blank before printing, to prevent the dyes from migrating or "bleeding" after they were absorbed. Dye imbibition

4968-433: Was no future in additive color processes, Comstock, Wescott, and Kalmus focused their attention on subtractive color processes. This culminated in what would eventually be known as Process 2 (1922) (often referred to today by the misnomer "two-strip Technicolor"). As before, the special Technicolor camera used a beam-splitter that simultaneously exposed two consecutive frames of a single strip of black-and-white film, one behind

5040-423: Was not suitable for printing optical soundtracks, which required very high resolution, so when making prints for sound-on-film systems the "blank" film was a conventional black-and-white film stock on which the soundtrack, as well as frame lines, had been printed in the ordinary way prior to the dye transfer operation. The first feature made entirely in the Technicolor Process 3 was The Viking (1928), which had

5112-530: Was only used indoors. In 1936, The Trail of the Lonesome Pine became the first color production to have outdoor sequences, with impressive results. The spectacular success of Snow White and the Seven Dwarfs (1937), which was released in December 1937 and became the top-grossing film of 1938, attracted the attention of the studios. Film critic Manny Farber on the 1943 Technicolor film For Whom

5184-432: Was used in some short sequences filmed for several movies made during 1934, including the final sequences of The House of Rothschild ( Twentieth Century Pictures / United Artists ) with George Arliss and Kid Millions ( Samuel Goldwyn Studios ) with Eddie Cantor . Pioneer/RKO's Becky Sharp (1935) became the first feature film photographed entirely in three-strip Technicolor. Initially, three-strip Technicolor

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