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A hand-colored print of George Méliès' The Impossible Voyage (1904). The first film colorization methods were hand-done by individuals. For example, at least 4% of George Méliès' output, including some prints of A Trip to the Moon from 1902 and other major films such as The Kingdom of the Fairies, The Impossible Voyage, and The Barber of Seville were individually hand-colored by Elisabeth ...
This is a list of color film processes known to have been created for photographing and exhibiting motion pictures in color since the first attempts were made in the late 1890s. It is limited to "natural color" processes, meaning processes in which the color is photographically recorded and reproduced rather than artificially added by hand ...
Excerpt from the surviving fragment of With Our King and Queen Through India (1912), the first feature-length film in natural colour, filmed in Kinemacolor. This is a list of early feature-length colour films (including primarily black-and-white films that have one or more color sequences) made up to about 1936, when the Technicolor three-strip process firmly established itself as the major ...
Columbia Pictures (American Film Technologies) [183] Destry Rides Again: 1939: 1996: Universal Pictures [184] The Devil Bat: 1940: 2008: Legend Films [185] The Devil Commands: 1941: 1991: Columbia Pictures (American Film Technologies) [186] The Devil-Doll: 1936: 1992: Turner Entertainment [187] Devil's Doorway: 1950: 1992: Turner Entertainment ...
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Kodak's first narrative film with the process was a short subject entitled Concerning $1000 (1916). Though their duplitized film provided the basis for several commercialized two-color printing processes, the image origination and color-toning methods constituting Kodak's own process were little-used.
Panchromatic film is used, and the negative is printed from in the ordinary way, and it will be understood that there is no colour in the film itself. [6] To shoot Kinemacolor films, cameramen had to choose between a variety of red/orange and blue/green filters depending on the subject.
In response to the controversy over the colorization of originally black and white films in the decade specifically, Representatives Robert J. Mrazek and Sidney R. Yates introduced the National Film Preservation Act of 1988, which established the National Film Registry, its purpose, and the criteria for selecting films for preservation. [3]