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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 ...
Columbia Pictures (American Film Technologies) [184] Destry Rides Again: 1939: 1996: Universal Pictures [185] The Devil Bat: 1940: 2008: Legend Films [186] The Devil Commands: 1941: 1991: Columbia Pictures (American Film Technologies) [187] The Devil-Doll: 1936: 1992: Turner Entertainment [188] Devil's Doorway: 1950: 1992: Turner Entertainment ...
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 ...
These also used black-and-white film to photograph multiple color-filtered source images, but the final product was a multicolored print that did not require special projection equipment. Before 1932, when three-strip Technicolor was introduced, commercialized subtractive processes used only two color components and could reproduce only a ...
The print made several passes through the dye transfer machines, in contact with a separate matrix for each color. Usually, three colors were applied at the most. Surviving examples of the process show that this technique was not always used. In some examples, stencils or simple hand coloring were employed.
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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]