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class="vector-toc-numb">2</span> <span>Company history</span> </div> </a> <ul id="toc-Company_history-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Color_process_history" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Color_process_history"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Color process history</span> </div> </a> <button aria-controls="toc-Color_process_history-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Color process history subsection</span> </button> <ul id="toc-Color_process_history-sublist" class="vector-toc-list"> <li id="toc-Two-color_Technicolor" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Two-color_Technicolor"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>Two-color Technicolor</span> </div> </a> <ul id="toc-Two-color_Technicolor-sublist" class="vector-toc-list"> <li id="toc-Process_1" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Process_1"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.1</span> <span>Process 1</span> </div> </a> <ul id="toc-Process_1-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Process_2" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Process_2"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.2</span> <span>Process 2</span> </div> </a> <ul id="toc-Process_2-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Process_3" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Process_3"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.3</span> <span>Process 3</span> </div> </a> <ul id="toc-Process_3-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Three-strip_Technicolor" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Three-strip_Technicolor"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span>Three-strip Technicolor</span> </div> </a> <ul id="toc-Three-strip_Technicolor-sublist" class="vector-toc-list"> <li id="toc-Process_4:_Development_and_introduction" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Process_4:_Development_and_introduction"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2.1</span> <span>Process 4: Development and introduction</span> </div> </a> <ul id="toc-Process_4:_Development_and_introduction-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Early_adoption_by_Disney" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Early_adoption_by_Disney"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2.2</span> <span>Early adoption by Disney</span> </div> </a> <ul id="toc-Early_adoption_by_Disney-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Convincing_Hollywood" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Convincing_Hollywood"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2.3</span> <span>Convincing Hollywood</span> </div> </a> <ul id="toc-Convincing_Hollywood-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Limitations_and_difficulties" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Limitations_and_difficulties"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2.4</span> <span>Limitations and difficulties</span> </div> </a> <ul id="toc-Limitations_and_difficulties-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-The_introduction_of_Eastmancolor_and_decline" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#The_introduction_of_Eastmancolor_and_decline"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2.5</span> <span>The introduction of Eastmancolor and decline</span> </div> </a> <ul id="toc-The_introduction_of_Eastmancolor_and_decline-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Post-1995_usage" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Post-1995_usage"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Post-1995 usage</span> </div> </a> <button aria-controls="toc-Post-1995_usage-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Post-1995 usage subsection</span> </button> <ul id="toc-Post-1995_usage-sublist" class="vector-toc-list"> <li id="toc-Reintroduction_of_the_dye_transfer_process" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Reintroduction_of_the_dye_transfer_process"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.1</span> <span>Reintroduction of the dye transfer process</span> </div> </a> <ul id="toc-Reintroduction_of_the_dye_transfer_process-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dye_transfer_Technicolor_in_archival_work" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dye_transfer_Technicolor_in_archival_work"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.2</span> <span>Dye transfer Technicolor in archival work</span> </div> </a> <ul id="toc-Dye_transfer_Technicolor_in_archival_work-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Technicolor_today" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Technicolor_today"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3</span> <span>Technicolor today</span> </div> </a> <ul id="toc-Technicolor_today-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Works_cited" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Works_cited"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Works cited</span> </div> </a> <ul id="toc-Works_cited-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>Sources</span> </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">10</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Technicolor</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 38 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-38" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">38 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%A7%D9%84%D8%AA%D8%B5%D9%88%D9%8A%D8%B1_%D8%A8%D8%A7%D9%84%D8%A3%D9%84%D9%88%D8%A7%D9%86" title="التصوير بالألوان – Arabic" lang="ar" hreflang="ar" data-title="التصوير بالألوان" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Technicolor" title="Technicolor – Asturian" lang="ast" hreflang="ast" data-title="Technicolor" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target"><span>Asturianu</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Technicolor" title="Technicolor – Catalan" lang="ca" hreflang="ca" data-title="Technicolor" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Technicolor" title="Technicolor – Danish" lang="da" hreflang="da" data-title="Technicolor" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Technicolor_(Verfahren)" title="Technicolor (Verfahren) – German" lang="de" hreflang="de" data-title="Technicolor (Verfahren)" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Technicolor" title="Technicolor – Spanish" lang="es" hreflang="es" data-title="Technicolor" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Technicolor" title="Technicolor – Esperanto" lang="eo" hreflang="eo" data-title="Technicolor" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Technicolor" title="Technicolor – Basque" lang="eu" hreflang="eu" data-title="Technicolor" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%AA%DA%A9%D9%86%DB%8C%E2%80%8C%DA%A9%D8%A7%D9%84%D8%B1" title="تکنی‌کالر – Persian" lang="fa" hreflang="fa" data-title="تکنی‌کالر" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Technicolor_(proc%C3%A9d%C3%A9)" title="Technicolor (procédé) – French" lang="fr" hreflang="fr" data-title="Technicolor (procédé)" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-fy mw-list-item"><a href="https://fy.wikipedia.org/wiki/Technicolor" title="Technicolor – Western Frisian" lang="fy" hreflang="fy" data-title="Technicolor" data-language-autonym="Frysk" data-language-local-name="Western Frisian" class="interlanguage-link-target"><span>Frysk</span></a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Teicnidhath" title="Teicnidhath – Irish" lang="ga" hreflang="ga" data-title="Teicnidhath" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target"><span>Gaeilge</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Technicolor" title="Technicolor – Galician" lang="gl" hreflang="gl" data-title="Technicolor" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%ED%85%8C%ED%81%AC%EB%8B%88%EC%BB%AC%EB%9F%AC" title="테크니컬러 – Korean" lang="ko" hreflang="ko" data-title="테크니컬러" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Technicolor" title="Technicolor – Croatian" lang="hr" hreflang="hr" data-title="Technicolor" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Technicolor" title="Technicolor – Indonesian" lang="id" hreflang="id" data-title="Technicolor" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-is mw-list-item"><a href="https://is.wikipedia.org/wiki/Technicolor" title="Technicolor – Icelandic" lang="is" hreflang="is" data-title="Technicolor" data-language-autonym="Íslenska" data-language-local-name="Icelandic" class="interlanguage-link-target"><span>Íslenska</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Technicolor" title="Technicolor – Italian" lang="it" hreflang="it" data-title="Technicolor" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%98%D7%9B%D7%A0%D7%99%D7%A7%D7%95%D7%9C%D7%95%D7%A8" title="טכניקולור – Hebrew" lang="he" hreflang="he" data-title="טכניקולור" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Technicolor" title="Technicolor – Hungarian" lang="hu" hreflang="hu" data-title="Technicolor" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Technicolor" title="Technicolor – Malay" lang="ms" hreflang="ms" data-title="Technicolor" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target"><span>Bahasa Melayu</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Technicolor_(techniek)" title="Technicolor (techniek) – Dutch" lang="nl" hreflang="nl" data-title="Technicolor (techniek)" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%86%E3%82%AF%E3%83%8B%E3%82%AB%E3%83%A9%E3%83%BC" title="テクニカラー – Japanese" lang="ja" hreflang="ja" data-title="テクニカラー" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Technicolor" title="Technicolor – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Technicolor" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Technicolor" title="Technicolor – Occitan" lang="oc" hreflang="oc" data-title="Technicolor" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target"><span>Occitan</span></a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Technicolor" title="Technicolor – Uzbek" lang="uz" hreflang="uz" data-title="Technicolor" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target"><span>Oʻzbekcha / ўзбекча</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Technicolor" title="Technicolor – Polish" lang="pl" hreflang="pl" data-title="Technicolor" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Technicolor" title="Technicolor – Portuguese" lang="pt" hreflang="pt" data-title="Technicolor" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Tehnicolor" title="Tehnicolor – Romanian" lang="ro" hreflang="ro" data-title="Tehnicolor" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A2%D0%B5%D1%85%D0%BD%D0%B8%D0%BA%D0%BE%D0%BB%D0%BE%D1%80" title="Техниколор – Russian" lang="ru" hreflang="ru" data-title="Техниколор" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/Tehnikolor" title="Tehnikolor – Serbian" lang="sr" hreflang="sr" data-title="Tehnikolor" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Technicolor" title="Technicolor – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Technicolor" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target"><span>Srpskohrvatski / српскохрватски</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Technicolor" title="Technicolor – Finnish" lang="fi" hreflang="fi" data-title="Technicolor" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Technicolor" title="Technicolor – Swedish" lang="sv" hreflang="sv" data-title="Technicolor" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Technicolor" title="Technicolor – Turkish" lang="tr" hreflang="tr" data-title="Technicolor" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%A2%D0%B5%D1%85%D0%BD%D1%96%D0%BA%D0%BE%D0%BB%D0%BE%D1%80" title="Техніколор – Ukrainian" lang="uk" hreflang="uk" data-title="Техніколор" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%D9%B9%DB%8C%DA%A9%D9%86%DB%8C_%DA%A9%D9%84%D8%B1" title="ٹیکنی کلر – Urdu" lang="ur" hreflang="ur" data-title="ٹیکنی کلر" data-language-autonym="اردو" data-language-local-name="Urdu" 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class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Color motion picture process</div> <p class="mw-empty-elt"> </p> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">This article is about the film processing company and trademark. For the former parent company known as Technicolor SA, see <a href="/wiki/Vantiva" title="Vantiva">Vantiva</a>. For other uses, see <a href="/wiki/Technicolor_(disambiguation)" class="mw-disambig" title="Technicolor (disambiguation)">Technicolor (disambiguation)</a>.</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:%22Technicolor_is_natural_color%22_Paul_Whiteman_stars_in_the_King_of_Jazz_-_from,_The_Film_Daily,_Jul-Dec_1930_(page_218_crop).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/%22Technicolor_is_natural_color%22_Paul_Whiteman_stars_in_the_King_of_Jazz_-_from%2C_The_Film_Daily%2C_Jul-Dec_1930_%28page_218_crop%29.jpg/220px-%22Technicolor_is_natural_color%22_Paul_Whiteman_stars_in_the_King_of_Jazz_-_from%2C_The_Film_Daily%2C_Jul-Dec_1930_%28page_218_crop%29.jpg" decoding="async" width="220" height="427" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/%22Technicolor_is_natural_color%22_Paul_Whiteman_stars_in_the_King_of_Jazz_-_from%2C_The_Film_Daily%2C_Jul-Dec_1930_%28page_218_crop%29.jpg/330px-%22Technicolor_is_natural_color%22_Paul_Whiteman_stars_in_the_King_of_Jazz_-_from%2C_The_Film_Daily%2C_Jul-Dec_1930_%28page_218_crop%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/00/%22Technicolor_is_natural_color%22_Paul_Whiteman_stars_in_the_King_of_Jazz_-_from%2C_The_Film_Daily%2C_Jul-Dec_1930_%28page_218_crop%29.jpg/440px-%22Technicolor_is_natural_color%22_Paul_Whiteman_stars_in_the_King_of_Jazz_-_from%2C_The_Film_Daily%2C_Jul-Dec_1930_%28page_218_crop%29.jpg 2x" data-file-width="1485" data-file-height="2880" /></a><figcaption>"Technicolor is natural color" <a href="/wiki/Paul_Whiteman" title="Paul Whiteman">Paul Whiteman</a> stars in an ad for his film <i><a href="/wiki/King_of_Jazz" title="King of Jazz">King of Jazz</a></i> from <i><a href="/wiki/The_Film_Daily" title="The Film Daily">The Film Daily</a></i>, 1930</figcaption></figure> <p><b>Technicolor</b> is a family of <a href="/wiki/Color_motion_picture_film" title="Color motion picture film">color motion picture</a> processes. The first version, Process 1, was introduced in 1916,<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> and improved versions followed over several decades. </p><p>Definitive Technicolor movies using three black-and-white films running through a special camera (3-strip Technicolor or Process 4) started in 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). </p><p>Process 4 was the second major color process, after Britain's <a href="/wiki/Kinemacolor" title="Kinemacolor">Kinemacolor</a> (used between 1909 and 1915), and the most widely used color process in <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a> during the <a href="/wiki/Golden_Age_of_Hollywood" class="mw-redirect" title="Golden Age of Hollywood">Golden Age of Hollywood</a>. Technicolor's <a href="#Process_4:_Development_and_introduction">three-color process</a> became known and celebrated for its highly saturated color, and was initially most commonly used for filming musicals such as <i><a href="/wiki/The_Wizard_of_Oz_(1939_film)" class="mw-redirect" title="The Wizard of Oz (1939 film)">The Wizard of Oz</a></i> (1939), <i><a href="/wiki/Down_Argentine_Way" title="Down Argentine Way">Down Argentine Way</a></i> (1940), and <i><a href="/wiki/Meet_Me_in_St._Louis" title="Meet Me in St. Louis">Meet Me in St. Louis</a></i> (1944), <a href="/wiki/Historical_drama" title="Historical drama">costume pictures</a> such as <i><a href="/wiki/The_Adventures_of_Robin_Hood_(film)" class="mw-redirect" title="The Adventures of Robin Hood (film)">The Adventures of Robin Hood</a></i> (1938) and <i><a href="/wiki/Gone_with_the_Wind_(film)" title="Gone with the Wind (film)">Gone with the Wind</a></i> (1939), the film <i><a href="/wiki/The_Blue_Lagoon_(1949_film)" title="The Blue Lagoon (1949 film)">Blue Lagoon</a></i> (1949), and <a href="/wiki/Animation" title="Animation">animated</a> films such as <i><a href="/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film)" title="Snow White and the Seven Dwarfs (1937 film)">Snow White and the Seven Dwarfs</a></i> (1937), <i><a href="/wiki/Gulliver%27s_Travels_(1939_film)" title="Gulliver's Travels (1939 film)">Gulliver's Travels</a></i> (1939), <i><a href="/wiki/Pinocchio_(1940_film)" title="Pinocchio (1940 film)">Pinocchio</a></i> (1940), and <i><a href="/wiki/Fantasia_(1940_film)" title="Fantasia (1940 film)">Fantasia</a></i> (1940). As the technology matured, it was also used for less spectacular dramas and comedies. Occasionally, even a <a href="/wiki/Film_noir" title="Film noir">film noir</a> – such as <i><a href="/wiki/Leave_Her_to_Heaven" title="Leave Her to Heaven">Leave Her to Heaven</a></i> (1945) or <i><a href="/wiki/Niagara_(1953_film)" title="Niagara (1953 film)">Niagara</a></i> (1953) – was filmed in Technicolor. </p><p>The "Tech" in the company's name was inspired by the <a href="/wiki/Massachusetts_Institute_of_Technology" title="Massachusetts Institute of Technology">Massachusetts Institute of Technology</a>, where <a href="/wiki/Herbert_Kalmus" title="Herbert Kalmus">Herbert Kalmus</a> and <a href="/wiki/Daniel_Frost_Comstock" title="Daniel Frost Comstock">Daniel Frost Comstock</a> received their undergraduate degrees in 1904 and were later instructors.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Nomenclature">Nomenclature</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=1" title="Edit section: Nomenclature"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The term "Technicolor" has been used historically for at least five concepts: </p> <ul><li><b>Technicolor</b>: an umbrella company (Technicolor Motion Picture Corporation) encompassing all versions and ancillary services (1914–present).</li> <li><b>Technicolor labs</b>: a group of <a href="/wiki/Film_laboratory" title="Film laboratory">film laboratories</a> worldwide, owned and run by Technicolor for post-production services including developing, printing, and transferring films in all major color film processes, as well as Technicolor's proprietary ones (1922–present).</li> <li><b>Technicolor process</b> or <b>format</b>: several custom imaging systems used in film production, culminating in the "three-strip" process in 1932 (1917–1955).</li> <li><b>Technicolor IB printing</b> ("IB" abbreviates "<a href="/wiki/Imbibition" title="Imbibition">imbibition</a>", a <a href="/wiki/Dye-transfer_process" title="Dye-transfer process">dye-transfer</a> operation): a process for making color motion picture prints that allows the use of dyes that are more stable and permanent than those formed in ordinary <a href="/wiki/Chromogenic" class="mw-redirect" title="Chromogenic">chromogenic</a> color printing. Originally used for printing from color-separation negatives photographed on black-and-white film in a special Technicolor camera (1928–2002, with differing gaps of availability after 1974, depending on the lab).</li> <li><b>Prints</b> or <b>Color by Technicolor</b>: used since 1954, when <a href="/wiki/Eastmancolor" title="Eastmancolor">Eastmancolor</a> (and other single-strip color film stocks) supplanted the three-film-strip camera negative method, while the Technicolor IB printing process continued to be used as one method of making the prints.<sup id="cite_ref-eastman_1955_3-0" class="reference"><a href="#cite_note-eastman_1955-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> This connotation applies to nearly all films made from 1954 onward<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> in which Technicolor is named in the credits (1953–present).<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="Company_history">Company history</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=2" title="Edit section: Company history"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Both Kalmus and Comstock went to Switzerland to earn PhD degrees; Kalmus at <a href="/wiki/University_of_Zurich" title="University of Zurich">University of Zurich</a>, and Comstock at <a href="/wiki/Basel" title="Basel">Basel</a> in 1906. </p><p>In 1912, Kalmus, Comstock, and mechanic W. Burton Wescott formed Kalmus, Comstock, and Wescott, an industrial research and development firm. Most of the early patents were taken out by Comstock and Wescott, while Kalmus served primarily as the company's president and chief executive officer. </p><p>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.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>In 1921, Wescott left the company, and Technicolor Inc. was chartered in Delaware.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Color_process_history">Color process history</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=3" title="Edit section: Color process history"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Two-color_Technicolor">Two-color Technicolor</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=4" title="Edit section: Two-color Technicolor"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading4"><h4 id="Process_1">Process 1</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=5" title="Edit section: Process 1"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:The-gulf-between-surviving-cell.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1e/The-gulf-between-surviving-cell.jpg/220px-The-gulf-between-surviving-cell.jpg" decoding="async" width="220" height="154" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1e/The-gulf-between-surviving-cell.jpg/330px-The-gulf-between-surviving-cell.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1e/The-gulf-between-surviving-cell.jpg/440px-The-gulf-between-surviving-cell.jpg 2x" data-file-width="684" data-file-height="480" /></a><figcaption>A frame from a surviving fragment of <i><a href="/wiki/The_Gulf_Between" title="The Gulf Between">The Gulf Between</a></i> (1917), the first publicly shown Technicolor film</figcaption></figure> <p>Technicolor originally existed in a <a href="/wiki/RG_color_space" class="mw-redirect" title="RG color space">two-color (red and green) system</a>. In Process 1 (1916), a <a href="/wiki/Prism_(optics)" title="Prism (optics)">prism</a> <a href="/wiki/Beam-splitter" class="mw-redirect" title="Beam-splitter">beam-splitter</a> 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 the same time, the film had to be photographed and projected at twice the normal speed. Exhibition required a special projector with two <a href="/wiki/Apertures" class="mw-redirect" title="Apertures">apertures</a> (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.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>The results were first demonstrated to members of the <a href="/wiki/American_Institute_of_Mining_Engineers" class="mw-redirect" title="American Institute of Mining Engineers">American Institute of Mining Engineers</a> in New York on February 21, 1917.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Technicolor itself produced the only movie made in Process 1, <i><a href="/wiki/The_Gulf_Between" title="The Gulf Between">The Gulf Between</a></i>, 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.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The near-constant need for a technician to adjust the projection alignment doomed this <a href="/wiki/Additive_color" title="Additive color">additive color</a> process. Only a few frames of <i>The Gulf Between</i>, showing star <a href="/wiki/Grace_Darmond" title="Grace Darmond">Grace Darmond</a>, are known to exist today.<sup id="cite_ref-:0_12-0" class="reference"><a href="#cite_note-:0-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Process_2">Process 2</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=6" title="Edit section: Process 2"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Anna_May_Wong_holds_child_in_The_Toll_of_the_Sea.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/08/Anna_May_Wong_holds_child_in_The_Toll_of_the_Sea.jpg/220px-Anna_May_Wong_holds_child_in_The_Toll_of_the_Sea.jpg" decoding="async" width="220" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/08/Anna_May_Wong_holds_child_in_The_Toll_of_the_Sea.jpg/330px-Anna_May_Wong_holds_child_in_The_Toll_of_the_Sea.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/08/Anna_May_Wong_holds_child_in_The_Toll_of_the_Sea.jpg/440px-Anna_May_Wong_holds_child_in_The_Toll_of_the_Sea.jpg 2x" data-file-width="640" data-file-height="478" /></a><figcaption>A frame from <i><a href="/wiki/The_Toll_of_the_Sea" title="The Toll of the Sea">The Toll of the Sea</a></i> (1922), the first generally released Technicolor film, and the first to use a two-strip subtractive color process</figcaption></figure> <p>Convinced that there 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 a green filter and one behind a red filter.<sup id="cite_ref-:0_12-1" class="reference"><a href="#cite_note-:0-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>The difference was that the two-component negative was now used to produce a <a href="/wiki/Subtractive_color" title="Subtractive color">subtractive color</a> 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. </p><p>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 print was toned to a color nearly <a href="/wiki/Complementary_color" class="mw-redirect" title="Complementary color">complementary</a> 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 the highlights remain clear (or nearly so), dark areas are strongly colored, and intermediate tones are colored proportionally. </p><p>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. <i><a href="/wiki/The_Toll_of_the_Sea" title="The Toll of the Sea">The Toll of the Sea</a></i>, which debuted on November 26, 1922, used Process 2 and was the first general-release film in Technicolor. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Phantomtechnicolor.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Phantomtechnicolor.jpg/220px-Phantomtechnicolor.jpg" decoding="async" width="220" height="157" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Phantomtechnicolor.jpg/330px-Phantomtechnicolor.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Phantomtechnicolor.jpg/440px-Phantomtechnicolor.jpg 2x" data-file-width="649" data-file-height="463" /></a><figcaption>A frame enlargement of a Technicolor segment from <i><a href="/wiki/The_Phantom_of_the_Opera_(1925_film)" title="The Phantom of the Opera (1925 film)">The Phantom of the Opera</a></i> (1925). The film was one of the earliest uses of the process on interior sets, and demonstrated its versatility.</figcaption></figure> <p>The second all-color feature in Process 2 Technicolor, <i><a href="/wiki/Wanderer_of_the_Wasteland_(1924_film)" title="Wanderer of the Wasteland (1924 film)">Wanderer of the Wasteland</a></i>, was released in 1924. Process 2 was also used for color sequences in such major motion pictures as <i><a href="/wiki/The_Ten_Commandments_(1923_film)" title="The Ten Commandments (1923 film)">The Ten Commandments</a></i> (1923), <i><a href="/wiki/The_Phantom_of_the_Opera_(1925_film)" title="The Phantom of the Opera (1925 film)">The Phantom of the Opera</a></i> (1925), and <i><a href="/wiki/Ben-Hur_(1925_film)" class="mw-redirect" title="Ben-Hur (1925 film)">Ben-Hur</a></i> (1925). <a href="/wiki/Douglas_Fairbanks" title="Douglas Fairbanks">Douglas Fairbanks</a>' <i><a href="/wiki/The_Black_Pirate" title="The Black Pirate">The Black Pirate</a></i> (1926) was the third all-color Process 2 feature. </p><p>Although successful commercially, Process 2 was plagued with technical problems. Because the images on 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 <a href="/wiki/Depth_of_focus" title="Depth of focus">depth of focus</a> 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 the gate, it cooled and the bulge subsided, but not quite completely.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>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 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.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>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 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.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Process_3">Process 3</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=7" title="Edit section: Process 3"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bride_Of_The_Regiment_1930_Technicolor.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Bride_Of_The_Regiment_1930_Technicolor.jpg/220px-Bride_Of_The_Regiment_1930_Technicolor.jpg" decoding="async" width="220" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Bride_Of_The_Regiment_1930_Technicolor.jpg/330px-Bride_Of_The_Regiment_1930_Technicolor.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Bride_Of_The_Regiment_1930_Technicolor.jpg/440px-Bride_Of_The_Regiment_1930_Technicolor.jpg 2x" data-file-width="963" data-file-height="720" /></a><figcaption>Example of Process 3 Technicolor. Myrna Loy and Walter Pidgeon in <i><a href="/wiki/Bride_of_the_Regiment" title="Bride of the Regiment">Bride of the Regiment</a></i> (1930)</figcaption></figure> <p>Based on the same <a href="/wiki/Handschiegl_Color_Process" class="mw-redirect" title="Handschiegl Color Process">dye-transfer technique</a> first applied to motion pictures in 1916 by Max Handschiegl, Technicolor Process 3 (1928) was developed to eliminate the projection print made of double-cemented prints in favor of a print created by <i><a href="/wiki/Imbibition" title="Imbibition">dye imbibition</a></i>. 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. </p><p>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, 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 the areas corresponding to the clearest, least-exposed areas of the negative. </p><p>To make each final color print, the matrix films were soaked in dye baths of colors nominally <a href="/wiki/Complementary_color" class="mw-redirect" title="Complementary color">complementary</a> 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 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 <a href="/wiki/Mordant" title="Mordant">mordant</a> made from deacetylated <a href="/wiki/Chitin" title="Chitin">chitin</a> was applied to the blank before printing, to prevent the dyes from migrating or "bleeding" after they were absorbed. </p><p>Dye imbibition was not suitable for printing optical soundtracks, which required very high resolution, so when making prints for <a href="/wiki/Sound-on-film" title="Sound-on-film">sound-on-film</a> 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. </p><p>The first feature made entirely in the Technicolor Process 3 was <i><a href="/wiki/The_Viking_(1928_film)" title="The Viking (1928 film)">The Viking</a></i> (1928), which had a synchronized score and sound effects. <i><a href="/wiki/Redskin_(film)" title="Redskin (film)">Redskin</a></i> (1929), with a synchronized score, and <i><a href="/wiki/The_Mysterious_Island_(1929_film)" title="The Mysterious Island (1929 film)">The Mysterious Island</a></i> (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: <i><a href="/wiki/On_with_the_Show_(1929_film)" class="mw-redirect" title="On with the Show (1929 film)">On with the Show!</a></i> (1929) (the first all-talking color feature), <i><a href="/wiki/Gold_Diggers_of_Broadway_(film)" class="mw-redirect" title="Gold Diggers of Broadway (film)">Gold Diggers of Broadway</a></i> (1929), <i><a href="/wiki/The_Show_of_Shows_(film)" class="mw-redirect" title="The Show of Shows (film)">The Show of Shows</a></i> (1929), <i><a href="/wiki/Sally_(1929_film)" title="Sally (1929 film)">Sally</a></i> (1929), <i><a href="/wiki/The_Vagabond_King_(1930_film)" title="The Vagabond King (1930 film)">The Vagabond King</a></i> (1930), <i><a href="/wiki/Follow_Thru_(film)" class="mw-redirect" title="Follow Thru (film)">Follow Thru</a></i> (1930), <i><a href="/wiki/Golden_Dawn_(film)" title="Golden Dawn (film)">Golden Dawn</a></i> (1930), <i><a href="/wiki/Hold_Everything_(1930_film)" class="mw-redirect" title="Hold Everything (1930 film)">Hold Everything</a></i> (1930), <i><a href="/wiki/The_Rogue_Song_(film)" class="mw-redirect" title="The Rogue Song (film)">The Rogue Song</a></i> (1930), <i><a href="/wiki/Song_of_the_Flame_(film)" title="Song of the Flame (film)">Song of the Flame</a></i> (1930), <i><a href="/wiki/Song_of_the_West_(film)" class="mw-redirect" title="Song of the West (film)">Song of the West</a></i> (1930), <i><a href="/wiki/The_Life_of_the_Party_(1930_film)" title="The Life of the Party (1930 film)">The Life of the Party</a></i> (1930), <i><a href="/wiki/Sweet_Kitty_Bellairs_(film)" class="mw-redirect" title="Sweet Kitty Bellairs (film)">Sweet Kitty Bellairs</a></i> (1930), <i><a href="/wiki/Bride_of_the_Regiment" title="Bride of the Regiment">Bride of the Regiment</a></i> (1930), <i><a href="/wiki/Mamba_(film)" title="Mamba (film)">Mamba</a></i> (1930), <i><a href="/wiki/Whoopee!_(film)" title="Whoopee! (film)">Whoopee!</a></i> (1930), <i><a href="/wiki/The_King_of_Jazz_(1930_film)" class="mw-redirect" title="The King of Jazz (1930 film)">King of Jazz</a></i> (1930), <i><a href="/wiki/Under_a_Texas_Moon_(film)" class="mw-redirect" title="Under a Texas Moon (film)">Under a Texas Moon</a></i> (1930), <i><a href="/wiki/Bright_Lights_(1930_film)" title="Bright Lights (1930 film)">Bright Lights</a></i> (1930), <i><a href="/wiki/Viennese_Nights_(film)" class="mw-redirect" title="Viennese Nights (film)">Viennese Nights</a></i> (1930), <i><a href="/wiki/Woman_Hungry_(film)" class="mw-redirect" title="Woman Hungry (film)">Woman Hungry</a></i> (1931), <i><a href="/wiki/Kiss_Me_Again_(1931_film)" title="Kiss Me Again (1931 film)">Kiss Me Again</a></i> (1931) and <i><a href="/wiki/Fifty_Million_Frenchmen_(film)" class="mw-redirect" title="Fifty Million Frenchmen (film)">Fifty Million Frenchmen</a></i> (1931). </p><p>In addition, many feature films were released with Technicolor sequences. Numerous short subjects were also photographed in Technicolor Process 3, including the first color sound cartoons by producers such as <a href="/wiki/Ub_Iwerks" title="Ub Iwerks">Ub Iwerks</a> and <a href="/wiki/Walter_Lantz" title="Walter Lantz">Walter Lantz</a>. <i><a href="/wiki/Song_of_the_Flame_(film)" title="Song of the Flame (film)">Song of the Flame</a></i> became the first color movie to use a <a href="/wiki/Widescreen" title="Widescreen">widescreen</a> process (using a system known as <a href="/wiki/Vitascope" title="Vitascope">Vitascope</a>, which used 65mm film). </p><p>In 1931, an improvement of Technicolor Process 3 was developed that removed grain from the Technicolor film, resulting in more vivid and vibrant colors.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> This process was first used on a <a href="/wiki/RKO_Pictures" title="RKO Pictures">Radio Picture</a> entitled <i><a href="/wiki/The_Runaround_(1931_film)" title="The Runaround (1931 film)">The Runaround</a></i> (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.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a> took the lead once again by producing three features (out of an announced plan for six features): <i><a href="/wiki/Manhattan_Parade_(film)" class="mw-redirect" title="Manhattan Parade (film)">Manhattan Parade</a></i> (1932), <i><a href="/wiki/Doctor_X_(film)" title="Doctor X (film)">Doctor X</a></i> (1932) and <i><a href="/wiki/Mystery_of_the_Wax_Museum_(film)" class="mw-redirect" title="Mystery of the Wax Museum (film)">Mystery of the Wax Museum</a></i> (1933). Radio Pictures followed by announcing plans to make four more features in the new process.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Only one of these, <i><a href="/wiki/Fanny_Foley_Herself_(film)" class="mw-redirect" title="Fanny Foley Herself (film)">Fanny Foley Herself</a></i> (1931), was actually produced. Although <a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount Pictures</a> announced plans to make eight features and <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">Metro-Goldwyn-Mayer</a> promised two color features, these never materialized.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> This may have been the result of the lukewarm reception to these new color pictures by the public. Two independently produced features were also made with this improved Technicolor process: <i><a href="/wiki/Legong_(film)" title="Legong (film)">Legong: Dance of the Virgins</a></i> (1934) and <i><a href="/w/index.php?title=Kliou_the_Tiger_(film)&action=edit&redlink=1" class="new" title="Kliou the Tiger (film) (page does not exist)">Kliou the Tiger</a></i> (1935). </p><p>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 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. </p><p>Warner Bros., which had vaulted from a minor exhibitor to a major studio with its introduction of the <a href="/wiki/Talkie" class="mw-redirect" title="Talkie">talkies</a>, 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 <a href="/wiki/Brewster_Color" title="Brewster Color">Brewster Color</a> and <a href="/wiki/Multicolor" title="Multicolor">Multicolor</a> (later <a href="/wiki/Cinecolor" title="Cinecolor">Cinecolor</a>). </p><p>Consequently, the introduction of color did not increase the number of moviegoers to the point where it was economical. This and the <a href="/wiki/Great_Depression" title="Great Depression">Great Depression</a> severely strained the finances of the movie studios and spelled the end of Technicolor's first financial successes. </p> <div class="mw-heading mw-heading3"><h3 id="Three-strip_Technicolor"><span class="anchor" id="PROC4"></span> Three-strip Technicolor</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=8" title="Edit section: Three-strip Technicolor"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading4"><h4 id="Process_4:_Development_and_introduction">Process 4: Development and introduction</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=9" title="Edit section: Process 4: Development and introduction"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:The_ending_card_for_the_1936_series_of_Merrie_Melodies,_from_I_Love_to_Singa.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/1/13/The_ending_card_for_the_1936_series_of_Merrie_Melodies%2C_from_I_Love_to_Singa.png/260px-The_ending_card_for_the_1936_series_of_Merrie_Melodies%2C_from_I_Love_to_Singa.png" decoding="async" width="260" height="216" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/1/13/The_ending_card_for_the_1936_series_of_Merrie_Melodies%2C_from_I_Love_to_Singa.png 1.5x" data-file-width="346" data-file-height="288" /></a><figcaption>The ending card for a 1936 <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a> <i><a href="/wiki/Merrie_Melodies" title="Merrie Melodies">Merrie Melodies</a></i> cartoon with an "In Technicolor" credit. Many animation companies during the 1930s and 1940s used Technicolor for their cartoon shorts.</figcaption></figure> <p>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 the feature film industry would soon be turning out color films exclusively. By 1931, however, the <a href="/wiki/Great_Depression" title="Great Depression">Great Depression</a> 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. </p><p>Technicolor could now promise studios a full range of colors, as opposed to 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. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:3-strip_Technicolor_camera.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ef/3-strip_Technicolor_camera.jpg/220px-3-strip_Technicolor_camera.jpg" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ef/3-strip_Technicolor_camera.jpg/330px-3-strip_Technicolor_camera.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ef/3-strip_Technicolor_camera.jpg/440px-3-strip_Technicolor_camera.jpg 2x" data-file-width="3828" data-file-height="2548" /></a><figcaption>A Three-strip Technicolor camera from the 1930s</figcaption></figure> <p>Technicolor's advantage over most early natural-color processes was that it was a <a href="/wiki/Subtractive_color" title="Subtractive color">subtractive synthesis</a> rather than an <a href="/wiki/Additive_color" title="Additive color">additive</a> one: unlike the additive <a href="/wiki/Kinemacolor" title="Kinemacolor">Kinemacolor</a> and Chronochrome processes, Technicolor prints did not require any special projection equipment. Unlike the additive <a href="/wiki/Dufaycolor" title="Dufaycolor">Dufaycolor</a> 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. </p><p>The Technicolor Process 4 camera, manufactured to Technicolor's detailed specifications by <a href="/wiki/Mitchell_Camera" title="Mitchell Camera">Mitchell Camera</a> Corporation, contained a <a href="/wiki/Beam_splitter" title="Beam splitter">beam splitter</a> consisting of a partially reflecting surface inside a split-cube <a href="/wiki/Prism_(optics)" title="Prism (optics)">prism</a>, color <a href="/wiki/Filter_(optics)" class="mw-redirect" title="Filter (optics)">filters</a>, 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 the <a href="/wiki/Visible_spectrum" title="Visible spectrum">spectrum</a>. </p><p>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 <a href="/wiki/Photographic_emulsion" title="Photographic emulsion">emulsions</a> pressed into contact face to face. The front film was a red-blind <a href="/wiki/Orthochromatic" class="mw-redirect" title="Orthochromatic">orthochromatic</a> type that recorded only the blue light. On the surface of its emulsion was a red-orange coating that prevented blue light from continuing on to the red-sensitive <a href="/wiki/Panchromatic" class="mw-redirect" title="Panchromatic">panchromatic</a> emulsion of the film behind it, which therefore recorded only the red-dominated third of the spectrum. </p><p>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 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: <a href="/wiki/CMYK_color_model" title="CMYK color model">CMYK color model</a> for a technical discussion of color printing). </p><p>A single clear strip of black-and-white film with the soundtrack and <a href="/wiki/Frame_line" title="Frame line">frame lines</a> printed in advance was first treated with a <a href="/wiki/Mordant" title="Mordant">mordant</a> 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 <a href="/wiki/Woodburytype" title="Woodburytype">Woodburytype</a> and very loosely comparable to <a href="/wiki/Offset_printing" title="Offset printing">offset printing</a> or <a href="/wiki/Lithography" title="Lithography">lithography</a>,<sup id="cite_ref-eastman_dye_21-0" class="reference"><a href="#cite_note-eastman_dye-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> and not a photographic one, as the actual printing does not involve a chemical change caused by exposure to light. </p><p>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 <a href="/wiki/Purple_fringing" title="Purple fringing">fringing</a>). This additional black increased 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. </p> <div class="mw-heading mw-heading4"><h4 id="Early_adoption_by_Disney">Early adoption by Disney</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=10" title="Edit section: Early adoption by Disney"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Kalmus convinced <a href="/wiki/Walt_Disney" title="Walt Disney">Walt Disney</a> to shoot one of his <i><a href="/wiki/Silly_Symphony" title="Silly Symphony">Silly Symphony</a></i> cartoons, <i><a href="/wiki/Flowers_and_Trees" title="Flowers and Trees">Flowers and Trees</a></i> (1932), in Process 4, the new "three-strip" process. Seeing the potential in full-color Technicolor, Disney negotiated an exclusive contract for the use of the process in animated films that extended to September 1935.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Other animation producers, such as the <a href="/wiki/Fleischer_Studios" title="Fleischer Studios">Fleischer Studios</a> and the <a href="/wiki/Ub_Iwerks" title="Ub Iwerks">Ub Iwerks</a> studio, were shut out – they had to settle for either the two-color Technicolor systems or use a competing process such as <a href="/wiki/Cinecolor" title="Cinecolor">Cinecolor</a>. </p><p><i>Flowers and Trees</i> was a success with audiences and critics alike, and won the first <a href="/wiki/Academy_Award_for_Best_Animated_Short_Film" title="Academy Award for Best Animated Short Film">Academy Award for Best Animated Short Film</a>. All subsequent <i>Silly Symphonies</i> from 1933 on were shot with the three-strip process. One <i>Silly Symphony</i>, <i><a href="/wiki/Three_Little_Pigs_(film)" title="Three Little Pigs (film)">Three Little Pigs</a></i> (1933), engendered such a positive audience response that it overshadowed the feature films with which it was shown. <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a> was buzzing about color film again. According to <i><a href="/wiki/Fortune_(magazine)" title="Fortune (magazine)">Fortune</a></i> magazine, "<a href="/wiki/Merian_C._Cooper" title="Merian C. Cooper">Merian C. Cooper</a>, producer for <a href="/wiki/RKO_Radio_Pictures" class="mw-redirect" title="RKO Radio Pictures">RKO Radio Pictures</a> and director of <i><a href="/wiki/King_Kong_(1933_film)" title="King Kong (1933 film)">King Kong</a></i> (1933), saw one of the <i>Silly Symphonies</i> and said he never wanted to make a black-and-white picture again." </p><p>Although Disney's first 60 or so Technicolor cartoons used the three-strip camera, an improved "successive exposure" ("SE") process was adopted <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1937</span>. 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 the Acme, Producers Service and Photo-Sonics animation cameras).<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> 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. </p><p>Successive exposure was also employed in Disney's "True Life Adventure" live-action series, wherein the original 16mm low-contrast <a href="/wiki/Kodachrome#Contrast" title="Kodachrome"> Kodachrome Commercial</a> <a href="/wiki/Live_action" title="Live action">live action</a> footage 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. </p> <div class="mw-heading mw-heading4"><h4 id="Convincing_Hollywood">Convincing Hollywood</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=11" title="Edit section: Convincing Hollywood"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Technicolor_ad_-_Motion_Picture,_July_1930.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/93/Technicolor_ad_-_Motion_Picture%2C_July_1930.jpg/220px-Technicolor_ad_-_Motion_Picture%2C_July_1930.jpg" decoding="async" width="220" height="315" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/93/Technicolor_ad_-_Motion_Picture%2C_July_1930.jpg/330px-Technicolor_ad_-_Motion_Picture%2C_July_1930.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/93/Technicolor_ad_-_Motion_Picture%2C_July_1930.jpg/440px-Technicolor_ad_-_Motion_Picture%2C_July_1930.jpg 2x" data-file-width="2878" data-file-height="4119" /></a><figcaption>1930 advertisement featuring <a href="/wiki/Maurice_Chevalier" title="Maurice Chevalier">Maurice Chevalier</a> in <i><a href="/wiki/Paramount_on_Parade" title="Paramount on Parade">Paramount on Parade</a></i></figcaption></figure> <p>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 the film had an extremely slow <a href="/wiki/Film_speed" title="Film speed">speed</a> of ASA 5. That, and the bulk of the cameras and a lack of experience with three-color <a href="/wiki/Cinematography" title="Cinematography">cinematography</a> made for skepticism in the studio boardrooms. </p><p>An October 1934 article in <i><a href="/wiki/Fortune_(magazine)" title="Fortune (magazine)">Fortune</a></i> 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 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 a possible shot-in-the-arm for the ailing industry. </p><p>In November 1933, Technicolor's Herbert Kalmus and <a href="/wiki/RKO_Pictures" title="RKO Pictures">RKO</a> announced plans to produce three-strip Technicolor films in 1934, beginning with <a href="/wiki/Ann_Harding" title="Ann Harding">Ann Harding</a> starring in a projected film <i>The World Outside</i>.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><p>Live-action use of three-strip Technicolor was first seen in a musical number of the <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">Metro-Goldwyn-Mayer</a> feature <i><a href="/wiki/The_Cat_and_the_Fiddle_(film)" title="The Cat and the Fiddle (film)">The Cat and the Fiddle</a></i>, released February 16, 1934. On July 1, MGM released <i><a href="/wiki/Hollywood_Party_(1934_film)" title="Hollywood Party (1934 film)">Hollywood Party</a></i> with a Technicolor cartoon sequence "Hot Choc-late Soldiers" produced by Walt Disney. On July 28 of that year, <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a> released <i>Service with a Smile</i>, followed by <i>Good Morning, Eve!</i> on September 22, both being comedy <a href="/wiki/Short_film" title="Short film">short films</a> starring <a href="/wiki/Leon_Errol" title="Leon Errol">Leon Errol</a> and filmed in three-strip Technicolor. <a href="/wiki/Pioneer_Pictures" title="Pioneer Pictures">Pioneer Pictures</a>, a movie company formed by Technicolor investors, produced the film usually credited as the first live-action short film shot in the three-strip process, <i><a href="/wiki/La_Cucaracha_(1934_film)" title="La Cucaracha (1934 film)">La Cucaracha</a></i> released August 31, 1934.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p><i>La Cucaracha</i> 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 <a href="/wiki/RKO" class="mw-redirect" title="RKO">RKO</a>, the short was a success in introducing the new Technicolor as a viable medium for live-action films. The three-strip process also was used in some short sequences filmed for several movies made during 1934, including the final sequences of <i><a href="/wiki/The_House_of_Rothschild" title="The House of Rothschild">The House of Rothschild</a></i> (<a href="/wiki/Twentieth_Century_Pictures" title="Twentieth Century Pictures">Twentieth Century Pictures</a>/<a href="/wiki/United_Artists" title="United Artists">United Artists</a>) with <a href="/wiki/George_Arliss" title="George Arliss">George Arliss</a> and <i><a href="/wiki/Kid_Millions" title="Kid Millions">Kid Millions</a></i> (<a href="/wiki/Samuel_Goldwyn" title="Samuel Goldwyn">Samuel Goldwyn Studios</a>) with <a href="/wiki/Eddie_Cantor" title="Eddie Cantor">Eddie Cantor</a>.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>Pioneer/RKO's <i><a href="/wiki/Becky_Sharp_(film)" title="Becky Sharp (film)">Becky Sharp</a></i> (1935) became the first <a href="/wiki/Feature_film" title="Feature film">feature film</a> photographed entirely in three-strip Technicolor. Initially, three-strip Technicolor was only used indoors. In 1936, <i><a href="/wiki/The_Trail_of_the_Lonesome_Pine_(1936_film)" title="The Trail of the Lonesome Pine (1936 film)">The Trail of the Lonesome Pine</a></i> became the first color production to have outdoor sequences, with impressive results. The spectacular success of <i><a href="/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film)" title="Snow White and the Seven Dwarfs (1937 film)">Snow White and the Seven Dwarfs</a></i> (1937), which was released in December 1937 and became the top-grossing film of 1938, attracted the attention of the studios. </p> <div class="mw-heading mw-heading4"><h4 id="Limitations_and_difficulties">Limitations and difficulties</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=12" title="Edit section: Limitations and difficulties"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1224211176">.mw-parser-output .quotebox{background-color:#F9F9F9;border:1px solid #aaa;box-sizing:border-box;padding:10px;font-size:88%;max-width:100%}.mw-parser-output .quotebox.floatleft{margin:.5em 1.4em .8em 0}.mw-parser-output .quotebox.floatright{margin:.5em 0 .8em 1.4em}.mw-parser-output .quotebox.centered{overflow:hidden;position:relative;margin:.5em auto .8em auto}.mw-parser-output .quotebox.floatleft span,.mw-parser-output .quotebox.floatright span{font-style:inherit}.mw-parser-output .quotebox>blockquote{margin:0;padding:0;border-left:0;font-family:inherit;font-size:inherit}.mw-parser-output .quotebox-title{text-align:center;font-size:110%;font-weight:bold}.mw-parser-output .quotebox-quote>:first-child{margin-top:0}.mw-parser-output .quotebox-quote:last-child>:last-child{margin-bottom:0}.mw-parser-output .quotebox-quote.quoted:before{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" “ ";vertical-align:-45%;line-height:0}.mw-parser-output .quotebox-quote.quoted:after{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" ” ";line-height:0}.mw-parser-output .quotebox .left-aligned{text-align:left}.mw-parser-output .quotebox .right-aligned{text-align:right}.mw-parser-output .quotebox .center-aligned{text-align:center}.mw-parser-output .quotebox .quote-title,.mw-parser-output .quotebox .quotebox-quote{display:block}.mw-parser-output .quotebox cite{display:block;font-style:normal}@media screen and (max-width:640px){.mw-parser-output .quotebox{width:100%!important;margin:0 0 .8em!important;float:none!important}}</style><div class="quotebox pullquote floatright" style="width:30em; ; font-size: 100%; color: #202122;background-color: cornsilk;"> <blockquote class="quotebox-quote left-aligned" style=""> <p>Film critic <a href="/wiki/Manny_Farber" title="Manny Farber">Manny Farber</a> on the 1943 Technicolor film <i><a href="/wiki/For_Whom_the_Bell_Tolls_(film)" title="For Whom the Bell Tolls (film)"> For Whom the Bell Tolls</a></i>: </p><p>“I am not sure how much the picture’s lack of effect is the result of its technicolor. I myself find it difficult to take seriously a movie made in technicolor: profundity seems out of key with the carnival spirit of the color, which is always gay and bright, mask-like, without substance. Nor am I sure how much of the film’s stiffness and unmaneuverability is the product of technicolor.”—<i><a href="/wiki/The_New_Republic" title="The New Republic">The New Republic</a></i>, July 19, 1944.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p> </blockquote> </div> <p>One major drawback of Technicolor's three-strip process was that the cameras required a special, bulky, large volume sound blimp. Film studios could not purchase Technicolor cameras, only rent them for their productions, complete with camera technicians and a "color supervisor" to ensure sets, costumes, and makeup didn't push beyond the limitations of the system. Often on many early productions, the supervisor was <a href="/wiki/Natalie_Kalmus" title="Natalie Kalmus">Natalie Kalmus</a>, ex-wife of Herbert Kalmus and part owner of the company. Directors had great difficulty with her; <a href="/wiki/Vincente_Minnelli" title="Vincente Minnelli">Vincente Minnelli</a> said, "I couldn't do anything right in Mrs. Kalmus's eyes."<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>Kalmus preferred the title "Technicolor Director", although British licensees generally insisted on "Colour Control" so as not to "dilute" the film director's title. She worked with quite a number of "associates", many of whom went uncredited, and after her retirement, these associates were transferred to the licensees, with, for example, Leonard Doss going to Fox where he performed the same function for Fox's DeLuxe Color. </p><p>The process of splitting the image reduced the amount of light reaching the film stock. Since the <a href="/wiki/Film_speed" title="Film speed">film speed</a> of the stocks used was fairly slow, early Technicolor productions required a greater amount of lighting than a black-and-white production. It is reported that temperatures from the hot studio lights on the film set of <i><a href="/wiki/The_Wizard_of_Oz_(1939_film)" class="mw-redirect" title="The Wizard of Oz (1939 film)">The Wizard of Oz</a></i> frequently exceeded 100 °F (38 °C), and some of the more heavily costumed characters required a large water intake. Some actors and actresses claimed to have suffered permanent eye damage from the high levels of carbon arc illumination with its highly actinic ultraviolet.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p><p>Because of the added lighting, triple amount of film, and the expense of producing dye transfer projection prints, Technicolor demanded high film budgets. </p> <div class="mw-heading mw-heading4"><h4 id="The_introduction_of_Eastmancolor_and_decline">The introduction of Eastmancolor and decline</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=13" title="Edit section: The introduction of Eastmancolor and decline"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-More_footnotes_needed plainlinks metadata ambox ambox-style ambox-More_footnotes_needed" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Text_document_with_red_question_mark.svg/40px-Text_document_with_red_question_mark.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Text_document_with_red_question_mark.svg/60px-Text_document_with_red_question_mark.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Text_document_with_red_question_mark.svg/80px-Text_document_with_red_question_mark.svg.png 2x" data-file-width="48" data-file-height="48" /></span></span></div></td><td class="mbox-text"><div class="mbox-text-span">This section includes a list of <a href="/wiki/Wikipedia:Citing_sources#General_references" title="Wikipedia:Citing sources">general references</a>, but <b>it lacks sufficient corresponding <a href="/wiki/Wikipedia:Citing_sources#Inline_citations" title="Wikipedia:Citing sources">inline citations</a></b>.<span class="hide-when-compact"> Please help to <a href="/wiki/Wikipedia:WikiProject_Reliability" title="Wikipedia:WikiProject Reliability">improve</a> this section by <a href="/wiki/Wikipedia:When_to_cite" title="Wikipedia:When to cite">introducing</a> more precise citations.</span> <span class="date-container"><i>(<span class="date">December 2010</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Gentlemen_Prefer_Blondes_Movie_Trailer_Screenshot_(34).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Gentlemen_Prefer_Blondes_Movie_Trailer_Screenshot_%2834%29.jpg/220px-Gentlemen_Prefer_Blondes_Movie_Trailer_Screenshot_%2834%29.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Gentlemen_Prefer_Blondes_Movie_Trailer_Screenshot_%2834%29.jpg/330px-Gentlemen_Prefer_Blondes_Movie_Trailer_Screenshot_%2834%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Gentlemen_Prefer_Blondes_Movie_Trailer_Screenshot_%2834%29.jpg/440px-Gentlemen_Prefer_Blondes_Movie_Trailer_Screenshot_%2834%29.jpg 2x" data-file-width="760" data-file-height="570" /></a><figcaption><i><a href="/wiki/Gentlemen_Prefer_Blondes_(1953_film)" title="Gentlemen Prefer Blondes (1953 film)">Gentlemen Prefer Blondes</a></i>, an example of Technicolor filming in 1950s' <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a>.</figcaption></figure><p>Color films that recorded the three primary colors in three emulsion layers on one strip of film had been introduced in the mid-1930s by <a href="/wiki/Eastman_Kodak" class="mw-redirect" title="Eastman Kodak">Eastman Kodak</a> in the United States (<a href="/wiki/Kodachrome" title="Kodachrome">Kodachrome</a> for 16mm home movies in 1935, then for 8mm home movies and 35mm slides in 1936) and <a href="/wiki/Agfa" class="mw-redirect" title="Agfa">Agfa</a> in Germany (<a href="/wiki/Agfacolor" title="Agfacolor">Agfacolor Neu</a> for both home movies and slides later in 1936). Technicolor introduced <i>Monopack</i>, a single-strip color <a href="/wiki/Reversal_film" title="Reversal film">reversal film</a> (a 35 mm lower-contrast version of Kodachrome) in 1941 for use on location where the bulky three-strip camera was impractical, but the higher grain of the image made it unsuitable for studio work. </p><p>Eastman Kodak introduced its first 35 mm color motion picture negative film in 1950. The first commercial feature film to use Eastmancolor was the <a href="/wiki/National_Film_Board_of_Canada" title="National Film Board of Canada">National Film Board of Canada</a> documentary <i><a href="/wiki/Royal_Journey" title="Royal Journey">Royal Journey</a></i>, released in December 1951.<sup id="cite_ref-kodak_1940_30-0" class="reference"><a href="#cite_note-kodak_1940-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> In 1952, Eastman Kodak introduced a high-quality color print film, allowing studios to produce prints through standard photographic processes as opposed to having to send them to Technicolor for the expensive dye imbibition process.<sup id="cite_ref-kodak_1940_30-1" class="reference"><a href="#cite_note-kodak_1940-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> That same year, the Technicolor lab adapted its dye transfer process (internally known as 'tri-robo' – Italian for three-strip) to derive triple matrices and imbibition prints directly from Eastmancolor negatives, as well as other stocks such as Ansco and DuPont color stocks. </p><p><i><a href="/wiki/Foxfire_(1955_film)" title="Foxfire (1955 film)">Foxfire</a></i> (1955), filmed in 1954 by <a href="/wiki/Universal_Studios" class="mw-disambig" title="Universal Studios">Universal</a>, starring <a href="/wiki/Jane_Russell" title="Jane Russell">Jane Russell</a> and <a href="/wiki/Jeff_Chandler_(actor)" class="mw-redirect" title="Jeff Chandler (actor)">Jeff Chandler</a>, was the last American-made feature photographed with a Technicolor three-strip camera. The last British film to be shot in Process 4 was <a href="/wiki/Ealing_Studios" title="Ealing Studios">Ealing Studios</a>' <i><a href="/wiki/The_Feminine_Touch_(1956_film)" title="The Feminine Touch (1956 film)">The Feminine Touch</a></i> (1956). <i><a href="/wiki/Invitation_to_the_Dance_(film)" title="Invitation to the Dance (film)">Invitation to the Dance</a></i> (1956) and <i><a href="/wiki/Jet_Pilot_(film)" title="Jet Pilot (film)">Jet Pilot</a></i> (1957) were released later. </p><p>In an attempt to capitalize on the Hollywood 3-D craze, Technicolor unveiled its <a href="/wiki/Stereoscopic" class="mw-redirect" title="Stereoscopic">stereoscopic</a> camera for <a href="/wiki/3-D_films" class="mw-redirect" title="3-D films">3-D films</a> in March 1953. The rig used two three-strip cameras, running a total of six strips of film at once (three for the left eye and three for the right).<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> Only two films were shot with this camera set-up: <i>Flight to Tangier</i> (1953) and the <a href="/wiki/Martin_and_Lewis" title="Martin and Lewis">Martin and Lewis</a> comedy <i><a href="/wiki/Money_From_Home" class="mw-redirect" title="Money From Home">Money From Home</a></i> (1953). A similar, but different system had been used by a different company, using two three-strip cameras side by side for a British short called <i>Royal River</i>. A number of 3-D films were made by RKO using Technicolor Monopack. </p><p>Technicolor expanded into India in the 1950s and <i><a href="/wiki/Jhansi_Ki_Rani_(1953_film)" title="Jhansi Ki Rani (1953 film)">Jhansi Ki Rani</a></i> was the first Technicolor film made in India. In 1956, Technicolor made an agreement with Ramnord Research Laboratories as its processor. A imbibition lab was planned for Bombay, but was never created.<sup id="cite_ref-FOOTNOTEStreetYumibe202423_32-0" class="reference"><a href="#cite_note-FOOTNOTEStreetYumibe202423-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>As the end of the Technicolor process became apparent, the company repurposed its three-color cameras for wide-screen photography, and introduced the <a href="/wiki/Technirama" title="Technirama">Technirama</a> process in 1957.<sup id="cite_ref-eastman_1955_3-1" class="reference"><a href="#cite_note-eastman_1955-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Other formats the company ventured into included <a href="/wiki/VistaVision" title="VistaVision">VistaVision</a>, <a href="/wiki/Todd-AO" title="Todd-AO">Todd-AO</a>, and <a href="/wiki/Ultra_Panavision_70" title="Ultra Panavision 70">Ultra Panavision 70</a>. All of them were an improvement over the three-strip negatives, since the negative print-downs generated sharper and finer grain dye transfer copies.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> By the mid-1960s, the dye-transfer process eventually fell out of favor in the United States as being too expensive and too slow in turning out prints. With the growing number of screens in the US, the standard run of 200–250 prints increased. And while dye-transfer printing yielded superior color printing, the number of high speed prints that could be struck in labs all over the country outweighed the fewer, slower number of prints that could only be had in Technicolor's labs. One of the last American films printed by Technicolor was <i><a href="/wiki/The_Godfather_Part_II" title="The Godfather Part II">The Godfather Part II</a></i> (1974).<sup id="cite_ref-eastman_dye_21-1" class="reference"><a href="#cite_note-eastman_dye-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>A lab was established in Italy to circumvent taxes on foreign film imports.<sup id="cite_ref-FOOTNOTEStreetYumibe202420_34-0" class="reference"><a href="#cite_note-FOOTNOTEStreetYumibe202420-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> In 1975, the US dye transfer plant was closed and Technicolor became an Eastman-only processor. In 1977, the final dye-transfer printer left in Rome was used by <a href="/wiki/Dario_Argento" title="Dario Argento">Dario Argento</a> to make prints for his horror film <i><a href="/wiki/Suspiria" title="Suspiria">Suspiria</a></i>.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> Technicolor's lab in Paris closed in 1958, as it was facing 450 million francs in debt.<sup id="cite_ref-FOOTNOTEStreetYumibe202419_36-0" class="reference"><a href="#cite_note-FOOTNOTEStreetYumibe202419-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> In 1980, the Italian Technicolor plant ceased printing dye transfer. </p><p>The British line was shut down in 1978 and sold to Beijing Film and Video Lab which shipped the equipment to China. A great many films from China and Hong Kong were made in the Technicolor dye transfer process,<sup id="cite_ref-eastman_1975_37-0" class="reference"><a href="#cite_note-eastman_1975-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> including <a href="/wiki/Zhang_Yimou" title="Zhang Yimou">Zhang Yimou's</a> <i><a href="/wiki/Ju_Dou" title="Ju Dou">Ju Dou</a></i> (1990) and even one American film, <i><a href="/w/index.php?title=Space_Avenger&action=edit&redlink=1" class="new" title="Space Avenger (page does not exist)">Space Avenger</a></i> (1989), directed by <a href="/wiki/Richard_W._Haines" title="Richard W. Haines">Richard W. Haines</a>. The Beijing line was shut down in 1993 for a number of reasons, including inferior processing. </p> <div class="mw-heading mw-heading2"><h2 id="Post-1995_usage">Post-1995 usage</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=14" title="Edit section: Post-1995 usage"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Reintroduction_of_the_dye_transfer_process">Reintroduction of the dye transfer process</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=15" title="Edit section: Reintroduction of the dye transfer process"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1997, Technicolor reintroduced the <a href="/wiki/Dye-transfer_process" title="Dye-transfer process">dye-transfer process</a> to general film printing. A refined version of the printing process of the 1960s and 1970s, it was used on a limited basis in the restorations of films such as <i><a href="/wiki/The_Wizard_of_Oz_(1939_film)" class="mw-redirect" title="The Wizard of Oz (1939 film)">The Wizard of Oz</a></i>, <i><a href="/wiki/Gone_with_the_Wind_(film)" title="Gone with the Wind (film)">Gone with the Wind</a></i>, <i><a href="/wiki/Rear_Window" title="Rear Window">Rear Window</a></i>, <i><a href="/wiki/Funny_Girl_(film)" title="Funny Girl (film)">Funny Girl</a></i>, and <i><a href="/wiki/Apocalypse_Now_Redux" title="Apocalypse Now Redux">Apocalypse Now Redux</a></i>.<sup id="cite_ref-color_db_38-0" class="reference"><a href="#cite_note-color_db-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>After its reintroduction, the dye-transfer process was used in several big-budget, modern <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a> productions. These included <i><a href="/wiki/Bulworth" title="Bulworth">Bulworth</a></i>, <i><a href="/wiki/The_Thin_Red_Line_(1998_film)" title="The Thin Red Line (1998 film)">The Thin Red Line</a></i>, <i><a href="/wiki/Godzilla_(1998_film)" title="Godzilla (1998 film)">Godzilla</a></i>, <i><a href="/wiki/Toy_Story_2" title="Toy Story 2">Toy Story 2</a></i>, and <i><a href="/wiki/Pearl_Harbor_(film)" title="Pearl Harbor (film)">Pearl Harbor</a></i>.<sup id="cite_ref-eastman_1975_37-1" class="reference"><a href="#cite_note-eastman_1975-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-color_db_38-1" class="reference"><a href="#cite_note-color_db-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>The dye-transfer process was discontinued by Technicolor in 2002 after the company was purchased by <a href="/wiki/Technicolor_SA" class="mw-redirect" title="Technicolor SA">Thomson</a>.<sup id="cite_ref-color_db_38-2" class="reference"><a href="#cite_note-color_db-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Dye_transfer_Technicolor_in_archival_work">Dye transfer Technicolor in archival work</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=16" title="Edit section: Dye transfer Technicolor in archival work"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>By the late 1990s, the dye transfer process still had its advantages in the film archival community. Because the dye transfer process used stable <a href="/wiki/Acid_dye" title="Acid dye">acid dyes</a>, Technicolor prints are considered of archival quality. A Technicolor print from the dye transfer era will retain its original colors virtually unchanged for decades with proper storage, whereas prints printed on Eastmancolor stocks produced prior to 1983 may suffer color fading after exposure to ultraviolet light and hot, humid conditions as a result of less stable photochemical dyes. Fading on some prints is so rapid that in some cases, after as little as five to ten years, the colors of the print have faded to a brownish red.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (January 2021)">citation needed</span></a></i>]</sup> </p><p>Furthermore, three-strip camera negatives are all on silver-based black-and-white stock, which have stayed unaltered over the course of time with proper handling. This has become of importance in recent years with the large market for films transferred to video formats for home viewing. The best color quality control for video transfer by far is achieved by optically printing from Technicolor negatives, or by recombining the three-strip black and white negatives through digital means and printing, onto low-contrast stock. Director <a href="/wiki/George_Lucas" title="George Lucas">George Lucas</a> had a three-strip archival negative, and one or more imbibition prints made of <i><a href="/wiki/Star_Wars_(film)" title="Star Wars (film)">Star Wars</a></i>; this "protection" copy was consulted for color values in putting together the 1997 Special Edition of <i>Star Wars</i>.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p><p>One problem that has resulted from Technicolor negatives is the rate of shrinkage from one strip to another. Because three-strip negatives are shot on three rolls, they are subject to different rates of shrinkage depending on storage conditions. Today, digital technology allows for a precise re-alignment of the negatives by resizing shrunken negatives digitally to correspond with the other negatives. The G, or Green, record is usually taken as the reference as it is the record with the highest resolution. </p><p>It is also a record with the correct "wind" (emulsion position with respect to the camera's lens). Shrinkage and re-alignment (resizing) are non-issues with Successive Exposure (single-roll RGB) Technicolor camera negatives. This issue could have been eliminated, for three-strip titles, had the preservation elements (fine-grain positives) been Successive Exposure, but this would have required the preservation elements to be 3,000 feet or 6,000 feet whereas three-strip composited camera and preservation elements are 1,000 feet or 2,000 feet (however, three records of that length are needed). </p><p>One issue that modern reproduction has had to contend with is that the contrast of the three film strips is not the same. This gives the effect on Technicolor prints that (for example) <a href="/wiki/Dissolve_(filmmaking)" title="Dissolve (filmmaking)">cinematic fades</a> cause the color balance of the image to change as the image is faded. Transfer to digital media has attempted to correct the differing color balances and is largely successful. However, a few odd artifacts remain such that saturated parts of the image may show a false color. Where the image of a flame is included in shot, it will rarely be of the expected orange/yellow color, often being depicted as green.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability"><span title="The material near this tag failed verification of its source citation(s). (January 2021)">failed verification</span></a></i>]</sup> </p> <div class="mw-heading mw-heading3"><h3 id="Technicolor_today">Technicolor today</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=17" title="Edit section: Technicolor today"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Technicolor_logo.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/e/e6/Technicolor_logo.svg/170px-Technicolor_logo.svg.png" decoding="async" width="170" height="65" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e6/Technicolor_logo.svg/255px-Technicolor_logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/e/e6/Technicolor_logo.svg/340px-Technicolor_logo.svg.png 2x" data-file-width="750" data-file-height="286" /></a><figcaption>Technicolor logo since 2010</figcaption></figure> <p>The Technicolor company remained a highly successful film processing firm and later became involved in video and audio duplication (<a href="/wiki/Compact_disc" title="Compact disc">CD</a>, <a href="/wiki/VHS" title="VHS">VHS</a> and <a href="/wiki/DVD" title="DVD">DVD</a> manufacturing) and digital video processes. <a href="/wiki/MacAndrews_%26_Forbes" title="MacAndrews & Forbes">MacAndrews & Forbes</a> acquired Technicolor, Inc. in 1982 for $100 million,<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> then sold it in 1988 to the British firm <a href="/wiki/Carlton_Communications" title="Carlton Communications">Carlton Communications</a> PLC for $780 million.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> Technicolor, Inc. acquired the film processing company <a href="/wiki/Consolidated_Film_Industries" title="Consolidated Film Industries">CFI</a> in 2000.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> Since 2001, Technicolor has been part of the French-headquartered electronics and media conglomerate Thomson Multimedia SA.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> The name of Thomson group was changed to "Technicolor SA" as of February 1, 2010<sup class="plainlinks noexcerpt noprint asof-tag update" style="display:none;"><a class="external text" href="https://en.wikipedia.org/w/index.php?title=Technicolor&action=edit">[update]</a></sup>, re-branding the entire company after its American film technology subsidiary.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>On June 24, 2020, Technicolor filed for <a href="/wiki/Chapter_15_bankruptcy" class="mw-redirect" title="Chapter 15 bankruptcy">Chapter 15 bankruptcy</a> in the United States, citing COVID-19 as the reason for its impact.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p><p>In May 2021, Technicolor's post-production unit was acquired by Streamland Media.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> On September 27, 2022, Technicolor SA, which maintains the IoT, broadband and video solution businesses, rebranded as <a href="/wiki/Vantiva" title="Vantiva">Vantiva</a>, while the VFX, motion graphics and animation businesses now operated by <a href="/wiki/Technicolor_Creative_Studios" class="mw-redirect" title="Technicolor Creative Studios">Technicolor Creative Studios</a>; these two were <a href="/wiki/Corporate_spin-off" title="Corporate spin-off">spun-off</a> as the publicly independent companies.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>The visual aesthetic of dye transfer Technicolor continues to be used in Hollywood, usually in films set in the mid-20th century.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> Parts of <i><a href="/wiki/The_Aviator_(2004_film)" title="The Aviator (2004 film)">The Aviator</a></i> (2004), the <a href="/wiki/Biographical_film" title="Biographical film">biopic</a> of <a href="/wiki/Howard_Hughes" title="Howard Hughes">Howard Hughes</a>, were digitally manipulated to imitate color processes that were available during the periods each scene takes place. </p><p>Mostly, during the credits of a film, the text "Color by Technicolor" or "Prints by Technicolor" is shown. </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=18" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/List_of_film_formats" class="mw-redirect" title="List of film formats">List of film formats</a></li> <li><a href="/wiki/List_of_color_film_systems" title="List of color film systems">List of color film systems</a></li> <li><a href="/wiki/Imbibition" title="Imbibition">Imbibition</a></li> <li><a href="/wiki/Dye-transfer_process" title="Dye-transfer process">Dye-transfer process</a></li> <li><a href="/wiki/List_of_early_color_feature_films" title="List of early color feature films">List of early color feature films</a></li> <li><a href="/wiki/List_of_three-strip_Technicolor_films" title="List of three-strip Technicolor films">List of three-strip Technicolor films</a></li> <li><a href="/wiki/Color_film" class="mw-redirect" title="Color film">Color film</a></li> <li><a href="/wiki/Color_photography" title="Color photography">Color photography</a></li></ul> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=19" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1041539562">.mw-parser-output .citation{word-wrap:break-word}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}</style><span class="citation patent" id="CITEREFDaniel_F._Comstock1916"><a rel="nofollow" class="external text" href="https://worldwide.espacenet.com/textdoc?DB=EPODOC&IDX=US1208490">US patent 1208490</a>, Daniel F. Comstock, "Auxiliary registering device for simultaneous projection of two or more pictures", issued December 12, 1916,  assigned to Technicolor Motion Picture Corp</span><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Apatent&rft.number=1208490&rft.cc=US&rft.title=Auxiliary+registering+device+for+simultaneous+projection+of+two+or+more+pictures&rft.inventor=Daniel+F.+Comstock&rft.assignee=Technicolor+Motion+Picture+Corp&rft.date=December 12, 1916&rft.appldate=1916-02-16"><span style="display: none;"> </span></span>.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.wgbh.org/news/local/2015-07-31/how-mit-and-technicolor-helped-create-hollywood">"How MIT And Technicolor Helped Create Hollywood"</a>. July 31, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=How+MIT+And+Technicolor+Helped+Create+Hollywood&rft.date=2015-07-31&rft_id=https%3A%2F%2Fwww.wgbh.org%2Fnews%2Flocal%2F2015-07-31%2Fhow-mit-and-technicolor-helped-create-hollywood&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-eastman_1955-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-eastman_1955_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-eastman_1955_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20151225075844/https://www.eastman.org/technicolor/decades/1955-1975">"1955–1975"</a>. <i>Technicolor100, Eastman Museum</i>. Archived from <a rel="nofollow" class="external text" href="https://www.eastman.org/technicolor/decades/1955-1975">the original</a> on December 25, 2015<span class="reference-accessdate">. Retrieved <span class="nowrap">February 4,</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Technicolor100%2C+Eastman+Museum&rft.atitle=1955%E2%80%931975&rft_id=https%3A%2F%2Fwww.eastman.org%2Ftechnicolor%2Fdecades%2F1955-1975&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">See section <a href="#The_introduction_of_Eastmancolor_and_decline">The introduction of Eastmancolor and decline</a></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.latimes.com/archives/la-xpm-1998-dec-04-ca-50659-story.html">"The Rise of Technicolor Is Colorful Hollywood History"</a>. <i>Los Angeles Times</i>. December 4, 1998<span class="reference-accessdate">. Retrieved <span class="nowrap">October 14,</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Los+Angeles+Times&rft.atitle=The+Rise+of+Technicolor+Is+Colorful+Hollywood+History&rft.date=1998-12-04&rft_id=https%3A%2F%2Fwww.latimes.com%2Farchives%2Fla-xpm-1998-dec-04-ca-50659-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">"<a rel="nofollow" class="external text" href="https://www.widescreenmuseum.com/oldcolor/fortune-page01.htm">What? Color in the Movies Again?</a>" <i><a href="/wiki/Fortune_(magazine)" title="Fortune (magazine)">Fortune</a></i>, October 1934.</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">"$1,000,000 Company Will Color Movies", <i>The New York Times</i>, September 21, 1922, p. 1.</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">"Technicol.-Prizma Controversy", <i><a href="/wiki/The_Wall_Street_Journal" title="The Wall Street Journal">The Wall Street Journal</a></i>, December 7, 1922, p. 12.</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://patents.google.com/patent/US1391029">Cinematographic Multiplex Projection, &c</a>. U.S. Patent No. 1,391,029, filed February 20, 1917.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">"Moving Pictures in Color", <i>The New York Times</i>, February 22, 1917, p. 9.</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.cnet.com/news/technicolor-100-years-the-gulf-between/">"The first Technicolor film was a total disaster a century ago"</a>. <i>CNET</i>. September 9, 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">June 27,</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=CNET&rft.atitle=The+first+Technicolor+film+was+a+total+disaster+a+century+ago&rft.date=2017-09-09&rft_id=https%3A%2F%2Fwww.cnet.com%2Fnews%2Ftechnicolor-100-years-the-gulf-between%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-:0-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_12-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTrenholm" class="citation web cs1">Trenholm, Richard. <a rel="nofollow" class="external text" href="https://www.cnet.com/news/technicolor-100-years-the-gulf-between/">"The first Technicolor film was a total disaster a century ago"</a>. <i>CNET</i><span class="reference-accessdate">. Retrieved <span class="nowrap">October 14,</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=CNET&rft.atitle=The+first+Technicolor+film+was+a+total+disaster+a+century+ago&rft.aulast=Trenholm&rft.aufirst=Richard&rft_id=https%3A%2F%2Fwww.cnet.com%2Fnews%2Ftechnicolor-100-years-the-gulf-between%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">"<a rel="nofollow" class="external text" href="https://books.google.com/books?id=XSoDAAAAMBAJ&pg=PA59">The First Successful Color Movie</a>", <i>Popular Science</i>, Feb. 1923, p. 59.</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">"<a rel="nofollow" class="external text" href="https://www.widescreenmuseum.com/oldcolor/kalmus.htm">Kalmus, Herbert. "Technicolor Adventures in Cinemaland", <i>Journal of the Society of Motion Picture Engineers</i>, December 1938</a>"</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">"<a rel="nofollow" class="external text" href="https://www.widescreenmuseum.com/oldcolor/kalmus.htm">Kalmus, Herbert. "Technicolor Adventures in Cinemaland", <i>Journal of the Society of Motion Picture Engineers</i>, December 1938</a>"</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">"<a rel="nofollow" class="external text" href="https://www.widescreenmuseum.com/oldcolor/kalmus.htm">Kalmus, Herbert. "Technicolor Adventures in Cinemaland", <i>Journal of the Society of Motion Picture Engineers</i>, December 1938</a>"</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Los Angeles Times, June 7, 1931, Page C9.</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Los Angeles Times, June 7, 1931, p. C9; The Washington Post, September 11, 1931, p. 12; Los Angeles Times, July 9, 1931, p. A9.</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Radio Pictures announced plans to make four color features under the titles of "The Runaround" (produced), "Babes in Toyland" (never produced), "Macheta" (never produced) and "Bird of Paradise" (changed to black and white).</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">MGM announced plans to make <i>The Merry Widow</i> in color and also to rework a revue called <i><a href="/wiki/The_March_of_Time_(film)" title="The March of Time (film)">The March of Time</a></i> with a storyline for release. The only Paramount feature that seems to have been announced was a picture called <i>Rose of the Rancho</i>, which was to have starred Richard Arlen and Dolores Del Rio.</span> </li> <li id="cite_note-eastman_dye-21"><span class="mw-cite-backlink">^ <a href="#cite_ref-eastman_dye_21-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-eastman_dye_21-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20150708154347/http://eastman.org/technicolor/technology/dye-transfer-printing">"Dye-Transfer Process"</a>. <i>Technicolor100, Eastman Museum</i>. Archived from <a rel="nofollow" class="external text" href="https://www.eastman.org/technicolor/technology/dye-transfer-printing">the original</a> on July 8, 2015<span class="reference-accessdate">. Retrieved <span class="nowrap">February 4,</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Technicolor100%2C+Eastman+Museum&rft.atitle=Dye-Transfer+Process&rft_id=https%3A%2F%2Fwww.eastman.org%2Ftechnicolor%2Ftechnology%2Fdye-transfer-printing&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Other studios could then start producing cartoons with the three-strip process, but were still barred from releasing them until 1936. "Technicolor Signs With Disney", <i>The Wall Street Journal</i>, April 17, 1934, p. 10; "Mickey Mouse Falls Under Technicolor's Sway", <i>The New York Times</i>, February 3, 1935, p. X5; Nelson B. Bell, "The New Trichrome Process Is About to Meet Test on Screen", <i>The Washington Post</i>, June 2, 1935, p. SO1. Douglas W. Churchill, "Advices From the Film Citadel", <i>The New York Times</i>, June 9, 1935, p. X3.</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">"Two key advantages to SE as opposed to three-strip photography is that the optical path is far simpler resulting in a single focal plane for each frame, and the alignment of frames from a single strip of film as opposed to three separate records is far easier. This is clearly evident when we are working with our nitrate negatives." <a rel="nofollow" class="external text" href="https://thedigitalbits.com/articles/robertharris/harris101308.html">Interview with Theo Gluck, Director of Library Restoration and Preservation for Walt Disney Studios Motion Pictures</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090402213956/http://www.thedigitalbits.com/articles/robertharris/harris101308.html">Archived</a> April 2, 2009, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, by Robert A. 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Archived from <a rel="nofollow" class="external text" href="https://www.technicolor.com/Cultures/En-Us/About/Press/PressRelease2001/DefinitiveAgreementReached.htm">the original</a> on November 13, 2006.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.technicolor.com&rft.atitle=Technicolor+%E2%80%93+Technology-driven+company+for+Media+%26+Entertainment&rft_id=https%3A%2F%2Fwww.technicolor.com%2FCultures%2FEn-Us%2FAbout%2FPress%2FPressRelease2001%2FDefinitiveAgreementReached.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCohen2010" class="citation news cs1">Cohen, David S. (January 26, 2010). <a rel="nofollow" class="external text" href="https://variety.com/2010/digital/markets-festivals/technicolor-reinventing-itself-1118014337/">"Technicolor reinventing itself"</a>. <i>Variety</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100203134823/http://www.variety.com/article/VR1118014337.html?categoryId=1009&cs=1">Archived</a> from the original on February 3, 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Variety&rft.atitle=Technicolor+reinventing+itself&rft.date=2010-01-26&rft.aulast=Cohen&rft.aufirst=David+S.&rft_id=https%3A%2F%2Fvariety.com%2F2010%2Fdigital%2Fmarkets-festivals%2Ftechnicolor-reinventing-itself-1118014337%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.indiewire.com/2020/06/technicolor-files-bankruptcy-1234569302/">"Technicolor files for bankruptcy"</a>. <i>IndieWire</i>. June 24, 2020<span class="reference-accessdate">. Retrieved <span class="nowrap">March 31,</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=IndieWire&rft.atitle=Technicolor+files+for+bankruptcy&rft.date=2020-06-24&rft_id=https%3A%2F%2Fwww.indiewire.com%2F2020%2F06%2Ftechnicolor-files-bankruptcy-1234569302%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.prnewswire.com/news-releases/streamland-media-finalizes-acquisition-of-technicolor-post-301283515.html">"Streamland Media Finalizes Acquisition of Technicolor Post"</a>. <a href="/wiki/PR_Newswire" title="PR Newswire">PR Newswire</a>. May 4, 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">November 17,</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Streamland+Media+Finalizes+Acquisition+of+Technicolor+Post&rft.date=2021-05-04&rft_id=https%3A%2F%2Fwww.prnewswire.com%2Fnews-releases%2Fstreamland-media-finalizes-acquisition-of-technicolor-post-301283515.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.technicolorcreative.com/news/technicolor-creative-studios-we-are-now-an-independent-company/">"Technicolor Creative Studios: We Are Now an Independent Company"</a>. Technicolor Creative Studios. September 27, 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">November 17,</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Technicolor+Creative+Studios%3A+We+Are+Now+an+Independent+Company&rft.date=2022-09-27&rft_id=https%3A%2F%2Fwww.technicolorcreative.com%2Fnews%2Ftechnicolor-creative-studios-we-are-now-an-independent-company%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.vantiva.com/resources/technicolor-officially-becomes-vantiva/">"Technicolor officially becomes Vantiva"</a>. Vantiva. September 27, 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">November 17,</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Technicolor+officially+becomes+Vantiva&rft.date=2022-09-27&rft_id=https%3A%2F%2Fwww.vantiva.com%2Fresources%2Ftechnicolor-officially-becomes-vantiva%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKindem1979" class="citation journal cs1">Kindem, Gorham A. (1979). "Hollywood's Conversion to Color: The Technological, Economic and Aesthetic Factors". <i>Journal of the University Film Association</i>. <b>31</b> (2): 29–36. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0041-9311">0041-9311</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/20687473">20687473</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+the+University+Film+Association&rft.atitle=Hollywood%27s+Conversion+to+Color%3A+The+Technological%2C+Economic+and+Aesthetic+Factors&rft.volume=31&rft.issue=2&rft.pages=29-36&rft.date=1979&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F20687473%23id-name%3DJSTOR&rft.issn=0041-9311&rft.aulast=Kindem&rft.aufirst=Gorham+A.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Works_cited">Works cited</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=20" title="Edit section: Works cited"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStreetYumibe2024" class="citation book cs1">Street, Sarah; Yumibe, Joshua, eds. (2024). <i>Global Film Color: The Monopack Revolution at Midcentury</i>. <a href="/wiki/Rutgers_University_Press" title="Rutgers University Press">Rutgers University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781978836839" title="Special:BookSources/9781978836839"><bdi>9781978836839</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Global+Film+Color%3A+The+Monopack+Revolution+at+Midcentury&rft.pub=Rutgers+University+Press&rft.date=2024&rft.isbn=9781978836839&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechnicolor" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="Sources">Sources</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=21" title="Edit section: Sources"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Manny_Farber" title="Manny Farber"> Farber, Manny</a>. 2009. <i>Farber on Film: The Complete Film Writings of Manny Farber</i>. Edited by <a href="/wiki/Robert_Polito" title="Robert Polito">Robert Polito</a>. <a href="/wiki/Library_of_America" title="Library of America">Library of America</a>. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-59853-050-6" title="Special:BookSources/978-1-59853-050-6">978-1-59853-050-6</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=22" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Fred E. Basten, <i>Glorious Technicolor: The Movies' Magic Rainbow</i>. Easton Studio Press, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-9647065-0-4" title="Special:BookSources/0-9647065-0-4">0-9647065-0-4</a></li> <li>Adrian Cornwell-Clyne, <i>Colour Cinematography</i>. London Champman & Hall, 1951.</li> <li>Layton, James – Pierce, David: <i>The Dawn of Technicolor, 1915–1935.</i> George Eastman House, Rochester (N.Y.), 2015. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-93539-828-1" title="Special:BookSources/978-0-93539-828-1">978-0-93539-828-1</a></li> <li>Richard W. Haines, <i>Technicolor Movies: The History of Dye Transfer Printing</i>. McFarland & Company, 2003. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7864-1809-5" title="Special:BookSources/0-7864-1809-5">0-7864-1809-5</a></li> <li>John Waner, <i>Hollywood's Conversion of All Production to Color</i>. Tobey Publishing, 2000.</li> <li>Herbert T. Kalmus with Elenore King Kalmus, <i>Mr. Technicolor: The Fascinating Story of the Genius Who Invented Technicolor and Forever Changed the History of Cinema.</i> MagicImage Filmbooks, 1993. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-882127-31-5" title="Special:BookSources/1-882127-31-5">1-882127-31-5</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Technicolor&action=edit&section=23" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid 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data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Technicolor" class="extiw" title="commons:Category:Technicolor">Technicolor</a></span>.</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/40px-Wiktionary-logo-en-v2.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/60px-Wiktionary-logo-en-v2.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/80px-Wiktionary-logo-en-v2.svg.png 2x" data-file-width="512" data-file-height="512" /></span></span></div> <div class="side-box-text plainlist">Look up <i><b><a href="https://en.wiktionary.org/wiki/technicolor" class="extiw" title="wiktionary:technicolor">technicolor</a></b></i> in Wiktionary, the free dictionary.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://www.technicolor.com/">Technicolor SA corporate website</a></li> <li><a rel="nofollow" class="external text" href="https://filmcolors.org/filter/?_sf_s=Technicolor&post_types=timeline_entry">Technicolor on Timeline of Historical Film Colors</a> with many written resources and many photographs of Technicolor prints.</li> <li><a rel="nofollow" class="external text" href="https://www.widescreenmuseum.com/oldcolor/technicolor1.htm">Technicolor History at the American WideScreen Museum</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20120320172206/http://www.lopek.com/3stf/3stf_index.php?page=default">Database of 3-strip Technicolor Films</a></li> <li><a rel="nofollow" class="external text" href="https://www.eastman.org/technicolor">Technicolor100: Explore Technicolor's History</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170911073426/http://eastman.org/technicolor">Archived</a> 2017-09-11 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li></ul>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&useformat=desktop" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Technicolor&oldid=1259929192">https://en.wikipedia.org/w/index.php?title=Technicolor&oldid=1259929192</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Audiovisual_introductions_in_1914" title="Category:Audiovisual introductions in 1914">Audiovisual introductions in 1914</a></li><li><a href="/wiki/Category:Audiovisual_introductions_in_1916" title="Category:Audiovisual introductions in 1916">Audiovisual introductions in 1916</a></li><li><a href="/wiki/Category:Broadcasting_companies" title="Category:Broadcasting companies">Broadcasting companies</a></li><li><a href="/wiki/Category:Film_and_video_technology" title="Category:Film and video technology">Film and video technology</a></li><li><a href="/wiki/Category:History_of_film" title="Category:History of 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