Talk:Technicolor

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Contents 1 Natalie Kalmus 2 Whitney article 3 Herbert Kalmus redirect? 4 Vomit? 5 Corporate title 6 Is Technicolor different from Warnercolor? 7 Savage Passions and Song of the Flame 8 Economics 9 "About the Technicolor Process" redundant? 10 Process 3.5? 11 Modern terminology

[edit] Natalie Kalmus

"One major drawback of Technicolor's 3-strip process was that it required a special Technicolor camera. Film studios were never allowed to buy these cameras. Instead they had to hire them from the Technicolor Corporation, complete with a number of camera technicians and a 'color coordinator', more often than not, Natalie Kalmus herself. Natalie's name appears in the credits of virtually every Technicolor film made to 1950, in spite of the fact that she was frequently banned from film sets because her concept of color coordination usually differed from that of the artistic directors."

I can only guess that Natalie Kalmus was the wife or daughter of Dr. Herbert Kalmus. This should be made clear. TheMadBaron 07:03, 15 October 2005 (UTC)

The article says "... wife of Herbert Kalmus". She was actually his ex wife.

[edit] Whitney article

The John Hay Whitney article should be truncated, with any important information of that article grafted to the Technicolor one. It should not be deleted, as it is important information to that main article, but it does go on too much of a tangent about the process itself. The Whitney article should list briefly his involvement. Thephotoplayer 21:54, 15 January 2006 (UTC)

[edit] Herbert Kalmus redirect?

Why does Herbert Kalmus redirect to here? He should get his own biographical article with a link. --jacobolus (t) 02:23, 19 February 2006 (UTC)

• Okay, I've created a separate article for him: Herbert Kalmus. Feel free to add more info to it, as it's pretty minimal right now. -- Bovineone 04:57, 6 March 2006 (UTC)

[edit] Vomit?

There's no need for the "Technicolor Yawn" reference. Unless someone convinces me otherwise, I'll end up deleting it tonight.

Agreed. This reference does not contribute to the main focus of the article at all. Cintrom 14:23, 1 May 2006 (UTC)

[edit] Corporate title

Technicolor was incorporated in 1915 as the Technicolor Motion Picture Corporation. — Walloon 21:16, 14 May 2006 (UTC)

Technicolor Motion Picture Corporation was only Technicolor as a film producer (Gulf Between and Toll of the Sea). The labs may have originally incorporated that way, but by the end of the 1920s, the firm was simply "Technicolor Corps., Inc."The Photoplayer 06:05, 15 May 2006 (UTC)

From the official corporate history, issued on their 90th Anniversary: "In November of 1915, the Technicolor Motion Picture Corporation was officially established." Scientific or Technical Academy Awards went to "Technicolor Motion Picture Corporation" in 1932, 1940 and 1953. A 1942 article by Winton Hoch says that he is with "Technicolor Motion Picture Corp., Hollywood, Calif." The same article (p. 11) refers to "Dr. Herbert T. Kalmus, President of Technicolor Motion Picture Corporation". — Walloon 06:45, 15 May 2006 (UTC)

My mistake. I just looked at a trade ad from 1953 and it does indeed say "Motion Picture Corporation". I was confusing it with "Technicolor, Inc.", the labs, which were a subsidiary.The Photoplayer 17:50, 15 May 2006 (UTC)

[edit] Is Technicolor different from Warnercolor?

Is Technicolor at all the same thing as Warnercolor? I understand that The Miracle of Our Lady of Fatima, was filmed in 1952 in Warnercolor instead of Technicolor. How do these processes differ? What made one process more appealing than the other? Was it simply the matter of cost, and that's it?

I assume that similar results in film processing were arrived at, regardless of the patented method employed, so it must be a matter of cost more than anything else.

WarnerColor was not the same thing as Technicolor. Technicolor used a dye transfer process (read the article) to mechanically create the image from printing matrices, like lithography; while WarnerColor, introduced in 1952, used Eastmancolor print stock to create prints photochemically, just as the color negatives from still photos are used to create color prints. The dye transfer process cost more, but gave unquestionablly better color quality, and the metal-based dyes did not fade; while the photochemical dyes in WarnerColor prints shifted badly toward pink with purple shadows in as little as five years. One film historian called WarnerColor prints "the worst looking prints in the history of motion pictures". By the mid-1950s, Warner Bros. shut down their film labs and went back to Technicolor, even though they continued to use "WarnerColor" in the credits for several years. — Walloon 22:46, 20 June 2006 (UTC)

[edit] Savage Passions and Song of the Flame

What evidence is there that Savage Passions (1927) was photographed in Technicolor? The American Film Institute Catalog of Motion Pictures doesn't even know the production company or distributor of this obscure feature.

As for Song of the Flame, is there any authoritative source that says this was photographed in 65 mm? All I find is a plot description in the Internet Movie Database that claims so (and another website that reprints that plot description). The AFI Catalog says nothing about a widescreen process for that movie. — Walloon 17:01, 10 July 2006 (UTC)

The Variety film review for "Song of the Flame" on May 14, 1930 states:

""At one time film goes to the wide screen for a pleasant festival and this looks quite nice, with the :staging here as otherwise with numbers happily handled by Jack Haskell." It also states that the film :was "All Technicolor." I will have to recheck the review on "Savage Passions."

There are numerous problems with the AFI Catalog: 1921-1930. It's by far the weakest of

the lot. There are something like 75 features not included, numerous synopses

are wrong, and cast and credits are frequently incomplete. 24.6.23.248 19:18, 10 :July 2006 (UTC)

I have to agree with you, volume F2 (Feature Films, 1921-1930) is the weakest of the series, but the second volume they put out, F6 (Feature Films, 1961-1970) isn't much better. I wish that they would redo both volumes, at least for their online version of the catalog, using the standards they employed for the subsequent volumes. — Walloon 19:43, 10 July 2006 (UTC)

[edit] Economics

The paragraph about Technicolor's decline in the 1970s seems to contradict the later representation of the article about Technicolor's decline. According to the National Association of Theater, while there were fewer paying audiences going to the movies in 1975 than in the previous year, the number of screens in the US was increasing. The increase in the number of prints necessary in a short amount of time (fast-run Eastman prints being made in 300% the time that Technicolor could produce) is what killed Technicolor printing in the '70s (and its revival in the late '90s), NOT the lack of prints needed. Plus, Eastman prints could be struck in numerous laboratories-- Technicolor print could only be struck at their plants. Citation #2 does nothing I can see to substantiate this claim. The Photoplayer 16:22, 9 August 2006 (UTC)

No reply, so I am ammending this statement. If anyone has some numbers or articles to the contrary, please post it here. The Photoplayer 22:08, 14 August 2006 (UTC)

Shooting Technicolor footage, 1934-1954

Technicolor's advantage over other early, natural color processes was that it was a subtractive synthesis rather than an additive one. Technicolor films could run on any projector; unlike other additive processes, it could represent colors clearly without any special projection equipment or techniques.

Technicolor was not unique in having a subtractive three color process. Rival processes such as Kodachrome, Agfacolor and Gasparcolor were available by 1935. Technicolor's advantage was that their camera produced the finest quality live action color prints which could be printed at that time to the bulk printing requirements (200 plus prints) of that time.

Early in the process, the clear film would be pre-exposed with a 50% density black-and-white positive image derived from the green matrix. This process was used largely to cover up fringing in the early days of three-strip printing, and to print framelines that would otherwise be white. Because the layer was of neutral density, the contrast in the picture was lowered. By the late 1930s, however, Technicolor streamlined the process to make up for these shortcomings and this practice ceased.

I have seen 1939 salmes using the key image. The key INCREASED contrast, crushed shadow detail, whilst reducing the general intensity of the colour image.

The color control that was available in the Technicolor process was even available to cinematographers, and many actors and actresses can recall standing on the set for long periods holding a board of colored squares (known as "The Lily") while the camera technicians balanced the colors in the camera. Conversely, cinematographers using monopack stocks such as Eastman and Ansco were at the mercy of the color balance of the negative stock as supplied, and the laboratory's timing. The Eastman company produced two versions of their film stock, one balanced for studio lighting, the other balanced for daylight. Cinematographers did have a large amount of control using colored filters over the camera lens or even the lighting

I do not understand this feat of 'balancing the color in the camera'. The color was balanced after the camera negative was exposed. The balancing process involved printing the three monochrome negatives with appropriate bias.

--Emitron1 15:50, 1 September 2006 (UTC)

Correct about the subtractive system.

Fixed the error about the key image (obviously that's what was meant, but it wasn't written very well).

As for balance within the camera, to some extent I suppose it was possible that filters could accurately adjust to a good image, but you can do that with practically any camera in which color film is used, so I've deleted that paragraph. If anyone has a better reason as to why it should be left in, post it here. --The Photoplayer 07:29, 3 September 2006 (UTC)

[edit] "About the Technicolor Process" redundant?

Isn't the section "shooting Technicolor footage" redundant? This information is pretty much covered within the HISTORY section. I feel we should merge it, but what do you think? -The Photoplayer 10:47, 1 December 2006 (UTC)

[edit] Process 3.5?

There seems to have another process between 3 and 4 which is not mentioned in the article. In 1931, a new process was used for the film called "The Runaround" released by Radio Pictures (RKO). According to the review (which praises the attractive color of the film) in Variety: "It's the first made under Technicolor's new printing process designed to remove grain, which is does to a degree placing application of tints on a much improved scale."Zosimus Comes 19:01, 26 March 2007 (UTC)

Notice how the poster for the movie also mentions that the color process is much improved.Zosimus Comes 19:15, 26 March 2007 (UTC)

[edit] Modern terminology

The Modern Terminology section refers to "This is, however, incorrect, as 3-Chip camcorders split light into red, green, and blue portions instead of magenta, cyan, and green." Shouldn't it be "instead of magenty, cyan, and yellow"? jhawkinson 19:47, 26 March 2007 (UTC)

Yes, absolutely - it should be yellow. I'll change that now. LACameraman 00:06, 27 March 2007 (UTC)