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As a bipack color process, the photographer loaded a standard camera with two film stocks: an orthochromatic strip dyed orange-red and a panchromatic strip behind it. The orthochromatic film stock recorded only blue and green, and its orange-red dye (analogous to a Wratten 23-A filter) filtered out everything but orange and red light to the panchromatic film stock.
Two frames of a vertical filmstrip take up roughly the same amount of space as a single frame on the horizontal. Including its guard band, a vertical filmstrip could contain up to 64 images, while a horizontal oriented strip usually contained 32 images. This is based on the equivalent of a 25 exposure length of 35mm still camera film.
The production of color films had decreased dramatically by 1932, when Burton Wescott and Joseph A. Ball completed work on a new three-color movie camera. Technicolor could now promise studios a full range of colors, as opposed to the limited red–green spectrum of previous films. The new camera simultaneously exposed three strips of black-and ...
Before the widespread use of digital non-linear editing systems, the initial editing of all films was done with a positive copy of the film negative called a film workprint (cutting copy in UK) by physically cutting and splicing together pieces of film. [6] Strips of footage would be hand cut and attached together with tape and then later in ...
In 1920, a variant of Type F film known as X-back was introduced to counteract the effects of static electricity on the film, which can cause sparking and create odd exposure patterns on the film. A resin backing was used on the film, which rendered the film too opaque to allow focusing through the back of the film, a common technique for many ...
The first full-color animations were photographed using three-strip cameras. From 1934, animations were filmed using modified black and white cameras taking successive exposures through three color filters on a single panchromatic film, being simpler to operate and far less expensive. The technique lasted until 1973 (Robin Hood, Disney).
Medium format cameras use 120 film, which yields a strip of negatives 60 mm wide, and large format cameras capture each image on a single sheet of film which may be as large as 20 x 25 cm (8 x 10 inches) or even larger. Each of these photographed images may be referred to as a negative and an entire strip or set of images may be collectively ...
In his feature film The Aviator (2005), Martin Scorsese seamlessly blended colorized stock footage of the Hell's Angels movie premiere with footage of the premiere's reenactment. The colorization by Legend Films was designed to look like normal three-strip film but was then color corrected to match the two-strip look of the premiere's reenactment.