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Technicolor Laboratories were still able to produce Technicolor prints by creating three black-and-white matrices from the Eastmancolor negative (Process 5). Process 4 was the second major color process, after Britain's Kinemacolor (used between 1909 and 1915), and the most widely used color process in Hollywood during the Golden Age of Hollywood .
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 ...
Technicolor also dye-transfer printed Eastmancolor and Ansco negative movies where the negative had been processed by another laboratory with the credit Print by Technicolor. Technicolor publicity dated 1954 added the facility to produce dye transfer release prints from Agfacolor , Gevacolor and Ferraniacolor color negative stock, popular in ...
Technicolor's two previous systems were an additive color process and a physically problematic subtractive color process, the latter requiring two prints cemented together back-to-back. Process 3 used an imbibition process pioneered by the Handschiegl color process , which had been created in 1916 for Cecil B. DeMille 's feature film Joan the ...
Film historians have noted that early Technicolor prints deteriorated more rapidly than black and white prints due to the effect of the chemicals on the silver nitrate base of film stock. Preservationists have used digital processes to restore the color in some of the surviving two-strip Technicolor prints, most notably in Universal's 1930 film ...
The original Cowardly Lion costume worn by Bert Lahr in “The Wizard of Oz” sold for over $3 million in 2014. It was made from real lion pelts, optical glass eyes, and “Italian human hair wig ...
A big advantage to Super Technirama 70 was that the prints were fully compatible with Todd-AO and the other systems using a spherical 65mm negative. All Super Technirama 70 pictures were photographed in the 35 mm 8-perforation Technirama process and optically un-squeezed and enlarged to 70 mm 5-perforation prints for theatrical presentation.
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