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The strips can then be rearranged and laid out sequentially to represent the order one wants to film in, providing a schedule that can be used to plan the production. [1] This is done because most films are shot "out of sequence," meaning that they do not necessarily begin with the first scene and end with the last. [ 2 ]
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.
In bipack color photography for motion pictures, two strips of black-and-white 35 mm film, running through the camera emulsion to emulsion, are used to record two regions of the color spectrum, for the purpose of ultimately printing the images, in complementary colors, superimposed on one strip of film.
This bipack color system used two strips of film running through the camera, one recording red, and one recording blue-green light. With the black-and-white negatives being printed onto duplitized film, the color images were then toned red and blue, effectively creating a subtractive color print.
Eastman Kodak introduced their first 35mm color negative stock, Eastman Color Negative film 5247, in 1950. [9] A higher quality version in 1952, Eastman Color Negative film 5248, was quickly adopted by Hollywood for color motion picture production, replacing both the expensive three-strip Technicolor process and Monopack. [9]
The most famous version of Technicolor, the full-color three-strip Technicolor Process 4 used from 1932 to 1955, exposed two of the three strips—the blue and red images—in bipack. The green record, the highest definition record, was exposed directly.
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.
The matrices, which are relief gelatine images on a film support (one for each subtractive primary color) absorb dye in proportion to the optical densities of the gelatin relief image. Successive placement of the dyed film matrices, one at a time, "transfers" each primary dye by physical contact from the matrix to a mordanted, gelatin-coated ...