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Rear projection in color remained out of reach until Paramount introduced a new projection system in the 1940s. New matte techniques, modified for use with color, were for the first time used in the British film The Thief of Bagdad (1940). However, the high cost of color production in the 1940s meant most films were black and white. [1]
Excerpt from the surviving fragment of With Our King and Queen Through India (1912), the first feature-length film in natural colour, filmed in Kinemacolor. This is a list of early feature-length colour films (including primarily black-and-white films that have one or more color sequences) made up to about 1936, when the Technicolor three-strip process firmly established itself as the major ...
The Third Reich in Colour is a documentary series produced by Spiegel TV and shown in English on the History Channel in the UK.. The series consists of narrated clips of rare colour film stock, including images of concentration camp prisoners and Jewish occupants of the ghettos in German-occupied Poland.
Video Treasures [405] (Color Systems Technology) [3] [406] The Man They Could Not Hang: 1939: 1992: Columbia Pictures (CST Entertainment Imaging, Inc.) [407] The Man Who Came to Dinner: 1942: 1988: Turner Entertainment [408] The Man with Nine Lives: 1940: 1994: Columbia Pictures (CST Entertainment Imaging, Inc.) [409] Manhattan Melodrama: 1934: ...
Agfacolor was a series of color film products made by Agfa of Germany. The first Agfacolor, introduced in 1932, was a film-based version of their Agfa-Farbenplatte (Agfa color plate), [1] a "screen plate" product similar to the French Autochrome.
Dufaycolor was used in only two British-made feature films: the two colour sequences in Radio Parade of 1935 (1934), and the all-colour Sons of the Sea (1939), directed by Maurice Elvey. [6] It was used for short films; Len Lye, for instance, used it for his films Kaleidoscope (1935), A Colour Box (1935), and Swinging the Lambeth Walk (1940).
In the 1940s, CBS Laboratories invented an early color system that utilized a wheel, containing six color filters, rotated in front of a single video camera tube to generate the RGB signal. [25] Called a field-sequential color system, it used interlaced video , with sequentially alternating color video fields to produce one complete video frame.
With the likelihood of the United States entering the war, and after experiments with various paint schemes conducted in association with the 1940 Fleet Problem (exercise), the Bureau of Ships (BuShips) directed in January 1941 that the peacetime color of overall #5 Standard Navy Gray, a light gloss shade with a linseed oil base, be replaced with matte Dark Gray, #5-D, a new paint formulation ...