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The name "redscale" comes because there is a strong color shift to red due to the red-sensitive layer of the film being exposed first, rather than last [the red layer is normally the bottom layer in C-41 (color print) film]. All layers are sensitive to blue light, so normally the blue layer is on top, followed by a filter.
The in-camera effect, as well as beginner tutorials given for software like Photoshop or GIMP, use a simple tint. More sophisticated software tends to implement sepia tones using the duotone feature. Simpler photo-editing software usually has an option to sepia-tone an image in one step.
John Knoll (born October 6, 1962) is an American visual effects supervisor and chief creative officer (CCO) at Industrial Light & Magic (ILM). [1] One of the original creators of Adobe Photoshop (along with his brother, Thomas Knoll), he has also worked as visual effects supervisor on the Star Wars prequels and the 1997 special editions of the original trilogy.
The sodium vapor process (occasionally referred to as yellowscreen) is a photochemical film technique for combining actors and background footage. It originated in the British film industry in the late 1950s and was used extensively by Walt Disney Productions in the 1960s and 1970s as an alternative to the more common bluescreen process.
A hand-colored print of George Méliès' The Impossible Voyage (1904). The first film colorization methods were hand-done by individuals. For example, at least 4% of George Méliès' output, including some prints of A Trip to the Moon from 1902 and other major films such as The Kingdom of the Fairies, The Impossible Voyage, and The Barber of Seville were individually hand-colored by Elisabeth ...
Cross processing (sometimes abbreviated to Xpro) is the deliberate processing of photographic film in a chemical solution intended for a different type of film. [1] The effect was discovered independently by many different photographers often by mistake in the days of C-22 and E-4.
The technical issue is that natural scenes have higher dynamic range (ratio of light to dark) than can be captured by film, which in turn is greater than can be reproduced in prints. Compressing this high dynamic range into a print either requires uniformly decreasing contrast (making tones closer together) or carefully printing different parts ...
Photo manipulation dates back to some of the earliest photographs captured on glass and tin plates during the 19th century. The practice began not long after the creation of the first photograph (1825) by Joseph Nicéphore Niépce who developed heliography and made the first photographic print from a photoengraved printing plate.