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In the University of Zurich and the Swiss National Science Foundation awarded additional funding for the elaboration of this web resource. In addition, the Institute for the Performing Arts and Film, Zurich University of the Arts provided a major contribution to the development of the database. Many further persons and institutions have supported the project, see acknowledgements. All the members of the two research projects on film colors, both led by Barbara Flueckiger, have been capturing photographs of historical film prints since Please report errors or suggestions.

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  4. If you check this box, the name as you enter it including the avatar from your e-mail and comment will be shown in recent donations. Your e-mail address and donation amount will not be shown. Type "process: [process name]" to search for processes. Type "inventor: [inventor name]" to search for inventors. Comstock, D.

    Technicolor used double-width film at this period, and after printing it was folded with the images outwards. It is stated that the developer is to be pyro, subsequently bleaching with potassium ferrocyanide, fixing with hypo, etching away the soft gelatine, and staining the relief images so obtained. Cornwell-Clyne, Adrian : Colour Cinematography. Leonard T. Troland, who, at the time of his death, was Director of Research of Technicolor Motion Picture Corporation, had done some important pioneer work on the Monopack process.

    Some of his inventions were embodied in numerous patent claims which have been issued and which were intended broadly to cover the multi-layer method both for taking and printing. The other Technicolor attack was by the imbibition method. Both Monopack and imbibition were obviously capable of ultimate development into multi-component processes, but since imbibition seemed to load more of the problems on the laboratory and relatively less on the emulsion maker, we pursued it with the greater vigor.

    A first approximation to the Technicolor imbibition method consisted of two gelatin reliefs produced upon thin celluloid which were glued or welded together back to back and dyed in complementary colors. Combined with the Technicolor two-component cameras, this method provided an immediately available system capable of yielding two-component subtractive prints.

    Both Joseph and Nicholas Schenck have on many occasions been most helpful to Technicolor by giving practical advice to Judge Jerome and to me, but at no time more so than when it was decided to produce the photoplay which was later called The Toll of the Sea.


    This was the first Technicolor production by the subtractive method. It was photographed in Hollywood under the general supervision of Mr. Joseph M. Ball, Technicolor cameraman. But because of insufficient laboratory capacity we were not able to supply prints fast enough to follow this up immediately and not until was the picture generally released in the United States.

    The prints of The Toll of the Sea were manufactured in the original pilot plant on Brookline Avenue, at a manufacturing cost of about 27 cents per foot. Every step of the Technicolor work in The Toll of the Sea was carefully watched by the executives of the industry. Rex Ingram, who was in the midst of producing Prisoner of Zenda , wired Mr. Loew for permission to scrap everything he had done in black and white on that picture and start over again in color. Griffith wanted to produce Faust and Douglas Fairbanks telephoned about producing a feature. Our first adventure in Hollywood seemed successful!

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    We were told that with prints as good as we were manufacturing if offered at 8 cents per foot the industry would rush to color. But, thus far we had made only inserts and one feature production, The Toll of the Sea , of which Technicolor was itself the producer. We had no adequate means of giving rush print service in Hollywood, and we were charging 20 cents a foot for release prints. It was another matter to convince a producer to employ the Technicolor company to photograph and make prints of a production at his expense and risk and under the conditions which prevailed in the motion picture industry.

    Meanwhile Technicolor Plant No. And in April, , the late C. Willat, in charge, J. Ball, Technical Director, G.

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    Cave, Assistant Technical Director, were sent from Boston to establish a small Technicolor laboratory and a photographic unit in Hollywood. This was established in a building in Hollywood rented for the purpose. In November, , Mr. Jesse L. We were told by Mr. Lasky that they had appropriated not more for this picture than they would have for the same picture in black and white.

    Also that the time schedule allowed for photographing was identical with what it would have been in black and white. The photography was to be done by our cameras in the hands of our technical staff, but following a budget and a time schedule laid out for them by Famous Players! Rush prints and the quality of negative were to be checked by them each day. During the six weeks of photography our entire staff worked from early morning to late at night, including Sundays and holidays.

    At one time we were accumulating negative which we did not dare to develop because of inadequate facilities in our rented laboratory. A few of us in Technicolor carried the terrorizing thought that there was no positive assurance that we would finally obtain commercial negative, and that the entire Famous Players investment might be lost. However, Mr. Lasky was not permitted to share that doubt. His confidence and help during the darkest hours were really marvelous and finally the cut negative emerged satisfactorily.

    We delivered approximately prints which were shown in several thousand theaters over the country. Some of these prints were made in the pilot plant, but more of them were made in Plant No. Nevertheless there were reasons why we could not obtain a volume of business. Every producer in Hollywood knew that the first important production by the Technicolor process under actual motion picture conditions and not controlled by the Technicolor company, had just been completed by Famous Players Lasky Corporation. A considerable group of producers expressed themselves as interested, but were waiting to see the outcome.

    Another group believed the process to be practical and might have paid our then price of 15 cents a foot, but considered it impracticable to send the daily work to Boston for rush prints. A small plant, primarily for the purpose of developing negative, making rush prints, and providing a California headquarters was installed at North Cole Avenue, Hollywood, in a building erected for our purposes.