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Film toning is the process of replacing the silver particles in the emulsion with colored, silver salts, by means of chemicals. [2] Unlike tinting, toning colored the darkest areas, leaving the white areas largely untouched. Tinting was very popular in the silent film era. By 1920, tinting was used for 80 to 90 percent of all films. [3]
A window film, sometimes called tint, is a thin laminate film that can be installed on the interior or exterior of glass surfaces in automobiles and boats, and as well as on the interior or exterior of glass in homes and buildings.
Pathécolor tinting on a print of Amour d'esclave (1907). Pathécolor, later renamed Pathéchrome, was an early mechanical stencil-based film tinting process for movies developed by Segundo de Chomón for Pathé in the early 20th century.
Film colorization (American English; or colourisation [British English], or colourization [Canadian English and Oxford English]) is any process that adds color to black-and-white, sepia, or other monochrome moving-picture images. It may be done as a special effect, to "modernize" black-and-white films, or to restore color segregation.
Tinting and toning continued to be used well into the sound era. In the 1930s and 1940s, some western films were processed in a sepia-toning solution to evoke the feeling of old photographs of the day. Tinting was used as late as 1951 for Sam Newfield's sci-fi film Lost Continent for the green lost-world sequences.
This makes most chemical-based photography a two-step process, which uses negative film and ordinary processing. Special films and development processes have been devised so that positive images can be created directly on the film; these are called positive, or slide, or (perhaps confusingly) reversal films and reversal processing.