Відео

old films are the best, i don't watch new ones

I'd like to add though that the use of Eastmancolor film in the cameras was a feature of only live-action Technirama movies, as it wasn't necessary when making an animated movie in Technirama. You see, starting in the late '30s, animated movies made in Technicolor Process 4, while continuing to use the same overall function as before and as in live-action Technicolor Process 4 movies, began being made using the successive exposure technique, instead of 3 strips of black-and-white film and a beam-splitting prism. Taking advantage of the fact that animation is done using still photography, each frame (or arrangement of drawings) of the animated movie would be photographed 3 times (first behind a red filter, then a green one, and then a blue one). The reason for the rebuilding of the live-action Technicolor movie cameras and the switch to Eastmancolor film was that it wasn't physically feasible to have a camera that ran 3 strips of film all horizontally. With animated Technicolor movies not requiring 3 separate strips, the successive exposure cameras were simply either rebuilt to run a single strip horizontally or physically repositioned above the drawings to create a horizontal effect. Sleeping Beauty (1957, the first ever movie in Super Technirama 70) was made with a successive exposure camera, as evidenced here: archive.thedigitalbits.com/articles/robertharris/harris101308.html

What in the hell was this? A thumb-nail sketch of Technicolor enviously made by Eastman without any offer for an in-depth version, Eastman or not? I Will say the final sentence speaks well for the inexplicable <5 minute production- After (joyously?) proclaiming that the Technicolor process has been dismantled and disbursed, and is for practical purposes, "Extinct", the narrator signs off this strange production with, "To truly understand and appreciate the beauty of this process, you have to experience it in person". Well okay, giving this over to imprecise script writing enough to say they were referring to WATCHING a Technicolor film being played from the actual film, it's glaringly obvious we're not going to "truly understand and appreciate" -anything- with the machinery blown to bits and less than 5 minute productions about it.

I don't even do any film stuff, or dark room magic.. but after watching that develop.. I gotta give the same reaction as Bruce Dickinson did after piloting his first Airbus... "That was absolutely F'n AWESOME!"

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Tolles Video

Insane! Just found this, thanks for sharing! I can’t wait for the new book

Do you have a Victor Cine or Victor Ultra Cine 16mm camera in your collection? It was released by A.F. Victor in 1923/1924 to compete with the 1923 Cine Kodak. I would love to see you do a segment on it.

At 31 minutes in, when speaking about the 1932 Three Strip Technicolor Camera Model D, Mr. Gustavson says, “it exposes three rolls of black and white film simultaneously through red, green, and pardon me cyan, yellow, and and magenta filters. It's a subtractive color process.” He was right before he corrected himself. The camera did indeed expose it’s three rolls of film through red, green, and blue filters, the additive color primaries, which are used when dealing with colors of light (hence the term additive), such as when exposing film. Cyan, yellow, and magenta are the subtractive color primaries, which are used when filtering white light (hence the term subtractive), such as when Technicolor created it’s release prints to be projected with white light.

You should post a video about your former curator Paolo Cherchi Usai misappropriating museum funds to finance his own attempts at filmmaking.

photography lore

Some billionaire should revive the tri-strip process, to create some beautiful, timeless images like those in the classics of the 1930s.

Great video

One of the last American films printed by Technicolor was The Godfather Part II (1974)

I wonder if all this old machinery is still stored somewhere after bring dismantled - the old tri-strip process was superb, and created beautiful images. I am so glad the classic films like GONE WITH THE WIND were done in this superb process. More "modern" processes like Metrocolor and Eastmancolor fade to hideous magenta. I saw RYAN'S DAUGHTER in Metrocolor and it was faded and horrid. Modern CGI effects cannot compare with this classic process. If I was a billionaire I would revive it. It would probably cost about $10 million to recreate the machinery, but the effort would be worth the expenditure.

Fox Talbot was doing the same in Britain with a similar type of photography , and there are huge collections available of his plates. They are still finding the glass plates to this day on gardens , people using them as plant cloches! with wonderful negatives still in tackt. I believe his process was similar to Daguerreotypes. It shows you the jealousy that existed in France!

Thank you so much for sharing this presentation and roundtable. Fascinating and illuminating. Would love to see more of this.

In Focus: George Eastman - The Fuller Picture 2237pm 10.7.24 maybe you should air these skits in the afternoon, UK time - so i can enjoy them...?

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I'M A BLIMP. I WEIGH 315 LBS OF PURE BLUBBER MR. FLUBBER.

I like a wider paper border around the image.

I want to HEAR IT

This is so cool. I am amazed by this.

I just recently bought Deanna Durbin's only Technicolor picture called "Can't Help Singing." It's stunningly beautiful - and the first scene of Deanna singing while driving a carriage will take your breath away. How sad Technicolor abandoned this superior process. I hope filmmakers realize what they've lost.

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I wish this was still sold

Would you please provide the specific ratios of these substances?

That's pretty creative, using tinted film stock itself as the color filter for the 3rd color. I wonder if that made that 3rd color slightly blurry, being it's slightly further away from the focal point, and because the light has to pass through the first film layer.

Interesting that only so few cameras were made. I would have guessed a much higher number.

I have an idea: The cemented prints lose their green dye over time, leaving just a orange-ish red image, right? Why not just re-dye the green side?

Obviously there were no three strip projectors. The black-and-white camera negatives were used to make what were called "imbibition matrices" which could be made to absorb differing amounts of the complementary colors (cyan, yellow, and magenta). These matrices were soaked in the proper color and then used to make the positive print by adding, one on top of the other, the cyan, yellow, and magenta. (Much like your newspaper prints a color photograph today--three colors added on top of each other to make the final full-color copy).

Hello, I am passionate about photography and I am very interested in Daguerreotype. I found the video excellent, but I would like to know where to find or how to make the silver-covered plates. Is it possible to make them at home?

5:17 😮

🙋🏼 excuse me... I know it's weird but have ppl experimented with other kinda tissue? Like animal bipeds that walk in this earth? 😁 Just asking but dont wanna be blocked or so 🥺 ...

What an excellent look behind the scenes. Thank you so much for this and the clear explanation of things.

תודה שקד על סדנא קסומה שהייתי בה אתמול. תודה על לימוד של טכניקה חדשה על לימוד מרענן ומקצועי ועל דרך חדשה שגיליתי

I am curious about the unclusion of Star Wars in the examples. While I do already know that ILM used VistaVision Cameras for composited shots. I have always been intrigued about if they used the Technirama anamorphic process or if they stayed with the spherical VistaVision. According to what I have recently seen in released restoration footage online and a couple of old behind the scenes features, it does very much look like they opted to use the non Anamorphic process in camera. So I am a bit confused by Star Wars being here in the Technirama presentation. But, as the anamorphic bit was just an adaptor on the end of the lens system, most of the camera was a VistaVision camera. I guess ILM bought a bunch of decommissioned Technirama cameras and opted to not use the anamorphic adaptor. Mainly to keep the image as distortion neutral as possible on the negative.

The Red Shoes Technicolour is simply the most beautiful piece of cinematic art, I've ever seen recorded.

Rubbish 🤬🤬🤬🤬🤬🤬

I studied with Professor Lee at UTK in the mid 1980s. His passion, talent, and humor for photography and life changed the course of my life. I cannot thank him enough for for the positive influence he had on me. I used to love seeing all these amazing pictures as he was making them.

Is there a way to turn the image back right side up like our brain does?

Martha we writers love you

It appears that the modern-day interviews of the two authors was shot in 2-strip Technicolor...well, not really, but it does appear that this was an intentional visual effect to mimic that look.

I have this fine book which I find myself going back to frequently

Hello nice work .its work a normal red filter for camera ?

Fascinating presentation, thank you. I filmed many of my movies on a Canon 1014e with good old Kodachrome Super 8mm. Used to travel to Europe with half a suit case full of film cartridges and then took them all to my local massive Kodak complex in Coburg Australia to get them developed, picked up the next day.

13:40 The basic mechanism for cameras and projectors the intermittent movement, and shutter - one of the few technologies that remained basically unchanged throughout the glorious history of film - over 120 years.

In my collection I have many cameras, projectors of all descriptions, including a Vinten 35mm Normandy camera (still works) and a curious prototype vertical 35mm movie camera that seems to be from the late 1800s - made of wood with a pull down mechanism I've not seen in anything else. How can I submit some photos for your evaluation and possibly I can donate to the museum?

Great presentation - wish I lived in your country to come visit in person.

Great to see a real projector - a technical marvel that remained virtually unchanged in its operation for over 120 years! The fundamental difference between a film projector and a digital projector is a film projector depends on the interaction of a human, the projectionist, they depend on each other in a symbiotic technical and aesthetic operation. The Digital projector sits there in its black box and shuns physical engagement with a human projectionist throughout the screening.