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Customer Name. Country: United States. Customer Reviews. Searching for relevant results You Viewed. Related Searches:. My Messages. My Coupon. Help Center. Rules Learn more about snap-up. Online Shopping at Banggood. At first, the manufacture of matrices was pure guesswork. Eventually, during the three strip years, it became a science, and the technicians were able to generate a usable set in only two or three tries.
In the twenties, it took many more attempts before an acceptable set of matrices was manufactured for dye transfer release printing. Another function of the matrix flashing was to alleviate apparent grain. Generally speaking, the darker the contrast, the less apparent grain is to the audience and the greater the appearance of sharpness. Dye transfer prints were usually made with above average contrast, which gave them less apparent grain than other color processes.
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The rich contrast often made the dyes stand out in relief and generated a three dimensional illusion. The blank stock the dyes were transferred onto was a black and white positive film that contained mordant, a chemical with an affinity for dye. It literally locked the dyes into the emulsion of the film as they were transferred. Without mordant, the dyes would have smeared all over the release print or rubbed off. Over the years, different methods were used, including adding mordant to the film after soundtrack development.
For most releases, mordant was contained in the emulsion of the blank. In the two strip dye transfer technique, there were two methods of imbibing the dyes. For Vitaphone films which contained no optical soundtrack , the blank was washed clean of all silver and transferred onto the clear emulsion. For Movietone and Photophone features, the blank first had to go through a printer, where the silver optical soundtrack was exposed and developed prior to the transfer of the dyes.
In some cases, a latent halftone key image of the black-and- white green record was exposed prior to development, another method of altering the shadow detail and contrast. Since most three strip productions contained a latent black and white key image, this process will be covered in greater detail in the next chapter. To summarize the dye transfer process: Blank film would first have a silver soundtrack exposed, then a black and white halftone key image in some cases and 1. After processing, the blank which now contained a 1.
The blank film would come into contact with the matrix, which had previously been coated with dye. The dye transfer machine contained a pin belt, which held the matrix and blank in place as they came into contact. The pin belt had two sets of registration pins, one normal size and the other reduced size to compensate for shrinkage. The result was a two strip dye transfer release print with a silver black-and-white optical soundtrack.
From through , the two strip process continued to be used primarily for selected scenes and only occasionally for entire features. The number of productions that used the process declined by with the production of only two notable all color features, Doctor X and Mystery of the Wax Museum. It was clear that interest was waning in the limited range of colors which was considered by most critics to be a gimmick rather than an artistic choice.
Many two strip dye transfer prints had apparent grain caused by improperly exposed matrices and reels with an inconsistent color balance. It was clear Kalmus had to add the third color and expand his operation or go out of business. Haines, Richard W. The History of Dye Transfer Printing. Jefferson, North Carolina : McFarland, on pp.
These shorts helped Technicolor to make the all-important transition from cemented-prints to the imbibition dye-transfer method. The shorts also prompted Nicholas Schenck to advise Technicolor to try a feature-length film, which, he promised, MGM would distribute. Although the color, for its time, was good, the picture itself was an amateurish attempt to tell four stories simultaneously.
Warner, elated by his success with sound, decided to take up color, and Warners contracted with Technicolor for more than twenty features. Alan Crosland directed.
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Universal: The King of Jazz. During this boom Technicolor took on more work than it could handle satisfactorily, and producers closed in on Kalmus demanding service.
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Hundreds of new technicians were hastily hired and Technicolor cameras and laboratory facilities were operated day and night. The inevitable result was public disenchantment. And the producers, hit by the Depression, cancelled contracts and demanded the return of money they had advanced. Technicolor had employed people before the bubble burst. The quality of its color rendition and image sharpness, and its total absence of grain, are still remarkable. Technicolor was still a two-color process, and the absence of the third primary color, blue, excluded the possibility of a true representation of color.
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But the biggest problem was lighting — an unbelievable amount of light was demanded. Behlmer, Rudy : Technicolor. In: Films in Review , 15,6, pp. Irregularities associated with cupping bending and curving of the film which interfered with proper focusing and emulsion scratching marred the process and motivated Technicolor to introduce a third core technology, the imbibition process covered in a notebook of the same name.
Imbibition IB , or dye transfer, aimed to unite two colour records on a single layer of emulsion in order to overcome the problems of the cemented positives.
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