Technicolor at 100: Saturation and Subtlety in Filmmaking

 Cinematography  Comments Off on Technicolor at 100: Saturation and Subtlety in Filmmaking
Jul 082015
 

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By the time Dorothy opened a door onto Oz in 1939, Technicolor — the company that let viewers see the yellow in the yellow-brick road — was already almost a quarter-century old.

This year, it turns 100. The breadth and variety of American films that used Technicolor processes between 1922 and 1955 are apparent in a recent book, “The Dawn of Technicolor, 1915-1935” by James Layton and David Pierce, and a continuing series at the Museum of Modern Art running through Aug. 5.

Technicolor can’t take credit for inventing color; that impulse existed from the dawn of movies. Early silents were commonly shown with hand coloring and tinting. Still, a workable approach to full color long eluded engineers, who had to overcome problems with speed, film stock, illumination, misaligned color components and eye strain.

In some early processes, black-and-white film prints were projected through color filters. Once it became possible to store color on the film print itself, Technicolor set itself apart from its competitors by developing a process that could work for studio filmmakers. Initially, Technicolor’s system recorded only combinations of red and green. Orange photographed well enough, but purple became a muddy brown.

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H.D.R. Photography for the Realist by Roy Furchgott

 HDR Images, HDR Info, HDR Software, HDR Styles, News  Comments Off on H.D.R. Photography for the Realist by Roy Furchgott
Jun 212012
 

H.D.R. Photography for the Realist – NYTimes.com