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Is Technicolor still used or has it been replaced by Beta, SVHS, DV etc.
I imagine Technicolor is inferior to SVHS or DV.
Do you need any certification to say ur film is "produced in Technicolor"
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produced in Technicolor means it was produced in Technicolor - as on film , not video ...
though a Technicolor print can be scanned to a video format ..
Technicolor is a company with many film and video divisions (did you know the worlds largest film print lab is in canada (125,000 square feet))
the procces maybe you are refering to is the famous three color procces they invented in the 1930's and 40's and perfected in the 50's (Technicolor "Process Number Five," a method of achieving improved definition of imbibation prints working from Eastman color negative) ..
or maybe your refering to the fact that Technicolor is the world's leading video duplicator - DVD and Tape replicator
not really sure what your question is .. -
I was watching Wizard of Oz and It says "Technicolor" as well as do alot of the old cartoons.
My question is:
Is Technicolor a company, a process, a type of film?
My other question is: If Techincolor is a type of film or a process, then is DV or SVHS superior or not?
Also, what does it mean to film on "film, not video" -
I Think You'll find this website informative...
http://www.technicolor.com/aboutus/index.html
Click on History...[/url] -
Greg12,Originally Posted by Greg12
I think you may be at a loss becuase of your age? How old are you? I only ask because us old folk (Anyone over 30 yrs old) remeber a time when all you used where motion picture cameras that used Celiuose film. Not magnetic tape. Technicolor was a process used to colorize "Reel" film. It was created and trade marked by a company called Technicolor. If I recall correctly the Wiz of OZ was the first film to use it (I'm wrong see link below!).... Of course you can get all this info off the internet search engines or some of these links...
http://home.earthlink.net/~davidp_hayes/Articles/h04.html
http://www.technicolor.com/aboutus/index.html
SUper 8 film..
http://www.kodak.com/US/en/motion/super8/history.shtml
Just some history links..
http://www.med.sc.edu:1081/motionpictures.htm -
Hi
to be strictly precise, technicolor is a way to record in color on celluoide (16mm, 35mm, sometimes 70mm) film. It was used on the first color film, the wizard of Oz. At that time the ASA levels (sensitivy to light, as on today's photo cameras) were so low (10 instead of todays 500/1000) that they have to use very big lights - over a hundred thousand watts. We are using only 10k watt lights in these days. Technicolor, however, was very expensive - there were three different stripes of film as far as I know, for the three basic colors (red blue yellow) and positives were made by a special developers. Technicolor films are not fading nor losing colors very much. We are using normal -cheaper- color negatives in present days researched mainly by Eastman Kodak. -
Member
- Apr 2003
- Carson City, NV
I suspect there's just a language barrier with mr. rb, but to be strictly true let's correct his sentence: The Wizard of Oz (at least the Judy Garland version) was not the first color film by any stretch of the imagination. Color films were produced *very* early on (as early as 1923 were 2 color technicolor process films being made, and in 1930 Kodak was experimenting with Kodachrome motion picture film). This doesn't even count the "tinted" stocks that were used even earlier (which technically count as color).
Indeed, there is some credible evidence the first color movie ever made was made in 1906 (!) an eight-minute film for Pathé was shot in Kinemacolour. But most people think of a "movie" as some Hollywood or other larger scale production. Technicolor's later three-strip process was first used for the Walt Disney animated cartoon Flowers and Trees (1932), which ran a mere eight minutes; the first full-length feature shot in three-color process was Becky Sharp (1935). And, of course, most people know the first color movie to win for Best Picture at the Academy Awards was "Gone with the Wind"
So Wizard of Oz isn't the first color movie by a long shot."Like a knife, he cuts through life, like every day's his last" -- Mr. Kiss Kiss Bang Bang -
mkelley, Im from Hungary, Europe, engish is not my first language. But as far as I can remeber (I can be wrong, of course) the Wizard of Oz was made around 1912. I watched it on DVD a few months ago, and in the extras it stated that 'this was the first', but it can be the 'first Hollywood' or 'first full night' movie. Probably I was wrong. Sorry
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Wizard of Oz, The (1939)
http://us.imdb.com/Title?0032138
There are a striking number of coincidences between events in the movie and musical cues (and lyrics) on the 1973 Pink Floyd album, "Dark Side of the Moon". It is highly improbable that the band had a print of the movie with them at Abbey Road, and few attempt to claim it to have been deliberate, but the coincidences are remarkable nonetheless. If you begin the album on the third roar of the MGM lion (using the NTSC version of the movie, not the 25 fps PAL version which runs a little over 4% faster) the coincidences include (but are not limited to):
The line "balanced on the biggest wave" comes as Dorothy balances on the fence.
The song "On the Run" starts as Dorothy falls off the fence.
"The Great Gig in the Sky" begins when the tornado first appears.
The song "Us and Them" is played when Dorothy meets the Wicked Witch of the West.
The line "black and blue" is repeated when they are talking to one another (Dorothy in her blue outfit, the Wicked Witch in black).
The line "the lunatic is on the grass..." coincides with Dorothy meeting the Scarecrow.
When we first see Miss Gulch on her bicycle, the song "Time" starts with its bells and alarms.
Dorothy asks Professor Marvel what else he sees in his crystal ball as the line "thought I'd something more to say" comes along in the song "Time".
As the Scarecrow sings "If I Only Had a Brain", Pink Floyd sing "Brain Damage".
Side 1 of the original vinyl album (up to the end of "The Great Gig in the Sky") is exactly as long as the black & white portion of the film.
As Dorothy listens to the Tin Man's chest, the album ends with the famous heartbeat sound effect. -
Member
- Apr 2003
- Carson City, NV
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There have been LOTS of versions of "Wizard of Oz", but the one with Judy Garland (the one that starts off in black and white and then turns into color when she reaches Oz, and then goes back to black and white when she returns to Kansas) is often quoted by Americans as being the "first" color film -- incorrectly as it turns out.
If you were watching an earlier version (and there have been many of them) and it was made in 1912 (the Garland version was 1939) it's possible it's a very early color film, but still not the earliest, as I noted earlier. But I was more interested in trying to correct the erroneous misinformation about the Garland version being the first American Hollywood mainstream color film -- it appears that Becky Sharp holds that honor."Like a knife, he cuts through life, like every day's his last" -- Mr. Kiss Kiss Bang Bang -
Member
- Apr 2003
- Carson City, NV
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Oh, and Mr. rb (and then I'll shut up here) -- I wasn't picking on you by any means. There are LOTS of respected movie reviewers who have printed this misinformation. I just read it again yesterday, as a matter of fact. So don't feel bad -- I'm sure the DVD you watched did have that "fact" mentioned. It's just not correct, that's all.
"Like a knife, he cuts through life, like every day's his last" -- Mr. Kiss Kiss Bang Bang -
the first was Wonderful Wizard of Oz, The (1910) 10 minute run time based on the musical ..
there is a 1925 version (and a followup) - both were pretty bad and didnt follow the story one bit .. -
first COLOR tv show = BONANZA
first color film was The Gulf Between in 1917 (technicolor)
heres a complete list up to about wizard of oz
Code:The Gulf Between All Technicolor 1917 Technicolor Corp. Technicolor Lost Film Joan The Woman Part Color 1917 Demille-Wyckoff Stecil-Tint Unknown Cupid Angling All Color 1918 California Motion Picture Corp. Natural Color Unknown Victory Parade All Color 1919 Unknown Gaumontcolor Unknown Everywhere Is Prizma All Color 1919 Unknown Prizmacolor Unknown Hagopian The Rugmaker All Color 1920 Unknown Prizmacolor Unknown Way Down East Color Sequences 1920 United Artists Technicolor Color Sequences Lost. Existence of sequences verified by reviews from 1920. Fashion Show sequence shot in color. Bali The Unknown All Color 1921 Unknown Prizmacolor Unknown Glorious Adventure, The All Color 1921 United Artists Prizmacolor BFI Restoration 1993 L'Eternal Amour All Color 1921 Gaston Columbani Heraute Color Unknown Gilded Lily, The Part Color 1921 Paramount Unknown Unknown Behold The Man Part Color 1921 Pathe Pathecolor Unknown School Days Part Color 1921 Warner Bros. Prizmacolor Unknown A Blind Bargain Part Color 1922 Goldwyn Prizmacolor Unknown Scaramouche Part Color 1922 Metro Unknown Unknown Uninvited Guest, The Part Color 1922 Metro Unknown Unknown Lights Of New York Part Color 1922 Fox Natural Color Unknown Light In The Dark, The Part Color 1922 Hope Hampton Unknown Unknown Yankee Doodle, Jr. Part Color 1922 Cineart Hambschlegel Unknown Toll Of The Sea All Color 1922 Metro Technicolor Survives. Last reel lost. Ten Commandments Part Color 1923 Paramount Technicolor Some Sequences Survive in Color. Flames Of Passion Part Color 1923 British Film Prizmacolor Unknown Vanity Fair All Color 1923 Goldwyn Prizmacolor Unknown Madness Of Youth Part Color 1923 Fox Natural Color Unknown Virgin Queen, The All Color 1923 British Film Prizmacolor Unknown I'Paggliaci Part Color 1923 Napolean - GB Prizmacolor Unknown Lady Of The Night Part Color 1923 MGM Technicolor Unknown So This Is Marriage Part Color 1924 MGM Technicolor Unknown Tess Of The D'Urburvilles Part Color 1924 MGM Technicolor Unknown Cytheria Part Color 1924 First National Technicolor Unknown Heritage Of The Desert Part Color 1924 Paramount Technicolor Unknown Wanderer Of The Wasteland All Color 1924 Paramount Technicolor Unknown Uninvited Guest, The Part Color 1924 MGM Technicolor Unknown Moonbeam Magic All Color 1924 Spectrum - GB Prizmacolor Unknown Peacock Feathers Part Color 1925 Universal Technicolor Unknown Phantom Of The Opera Part Color 1925 Universal Technicolor Some color sequences survive. Stage Struck Part Color 1925 Paramount Technicolor Survives King Of Main Street Part Color 1925 Paramount Technicolor Survives Sun-Up Part Color 1925 MGM Technicolor Unknown Ben Hur Part Color 1925 MGM Technicolor Survives Monte Carlo Part Color 1925 MGM Technicolor Unknown Torrent, The Part Color 1925 MGM Technicolor Only Closing Credits Survive In Color Pretty Ladies Part Color 1925 MGM Technicolor Color Sequences Lost. Seven Chances Part Color 1925 MGM Technicolor Survives Big Parade, The Part Color 1925 MGM Technicolor Color Lost Merry Widow, The Part Color 1925 MGM Technicolor Color Lost. Lights Of Old Broadway Part Color 1925 MGM Technicolor Unknown His Supreme Moment Part Color 1925 Goldwyn Technicolor Unknown Marionettes All Color 1925 Independent Technicolor Unknown Irene Part Color 1926 First National Technicolor Survives Far Cry Part Color 1926 First National Technicolor Color Lost Brown Derby Part Color 1926 First National Technicolor Color Lost Into Her Kingdom Part Color 1926 First National Technicolor Color Lost Fig Leaves Part Color 1926 Fox Technicolor Unknown Yankee Senor Part Color 1926 Fox Technicolor Survives Complete. Hell's Four Hundred Part Color 1926 Fox Technicolor Unknown Fire Brigade Part Color 1926 MGM Technicolor Unknown Flaming Forest Part Color 1926 MGM Technicolor Unknown Altars Of Desire Part Color 1926 MGM Technicolor Unknown Beverly Of Graustrak Part Color 1926 MGM Technicolor Unknown Winners Of The Wilderness Part Color 1926 MGM Technicolor Unknown Strong Man, The Part Color 1926 First National Technicolor Unknown Sea Beast, The Part Color 1926 Warner Brothers Technicolor Unknown Beau Geste Part Color 1926 Paramount Technicolor Unknown American Venus Part Color 1926 Paramount Technicolor Lost Film Black Pirate, The All Color 1926 United Artists Technicolor Survives Michael Strogoff Part Color 1926 United Artists Technicolor Unknown Midnight Sun Part Color 1926 Universal Technicolor Unknown Flaming Frontier Part Color 1926 Universal Technicolor Unknown Black Rider, The Part Color 1926 Unknown Technicolor Unknown Alaskan Adventures All Color 1926 Pathe Unknown Unknown Girl From Rio, The Part Color 1926 Gotham Technicolor Unknown Savage Passions All Color 1927 Unknown Unknown Unknown Long Pants Part Color 1927 First National Technicolor Unknown White Pants Willie Part Color 1927 First National Technicolor Unknown Joy Girl Part Color 1927 Fox Technicolor Unknown Annie Laurie Part Color 1927 MGM Technicolor Unknown Frisco Sally Levy Part Color 1927 MGM Technicolor Unknown Napolean Part Color 1927 Westi - French Unknown Unknown King Of Kings Part Color 1927 Pathe Technicolor Survives Faith Of Millions Part Color 1927 Chester Prod. Technicolor Unknown Court Martial Part Color 1928 Columbia Technicolor Unknown Rainbow Valley Part Color 1928 First National Technicolor Unknown None But The Brave Part Color 1928 Fox Technicolor Unknown Viking, The All Color 1928 MGM Technicolor Survives Actress, The Part Color 1928 MGM Technicolor Lost Film. Casanova Part Color 1928 MGM Technicolor Unknown Red Hair Part Color 1928 Paramount Technicolor Lost Film Water Hole Part Color 1928 Paramount Technicolor Unknown Wedding March, The Part Color 1928 Paramount Technicolor Survives Garden Of Eden, The Part Color 1928 United Artists Technicolor Unknown Gaucho, The Part Color 1928 United Artists Technicolor Unknown Revenge Part Color 1928 United Artists Technicolor Unknown Lady Of Victories Part Color 1928 Unknown Technicolor Unknown Sunnyside Up Part Color 1929 Fox Multicolor Color Lost Married In Hollywood Part Color 1929 Fox Multicolor Color fragment survives of this otherwise lost film. Fox Movietone Follies Part Color 1929 Fox Multicolor Lost Film Rogue Song, The Part Color 1929 MGM Technicolor Only Fragments Survive Good News Part Color 1929 MGM Technicolor Color Sequences Lost. Show World Part Color 1929 MGM Technicolor Unknown Devil May Care Part Color 1929 MGM Technicolor Survives Complete. Broadway Melody Part Color 1929 MGM Technicolor Color Sequence Survives in Black and White. It's A Great Life Part Color 1929 MGM Technicolor Survives Complete. Loves Of Casanova Part Color 1929 MGM Technicolor Unknown Mysterious Island Part Color 1929 MGM Technicolor Surives in Black and White. Lord Byron Of Broadway Part Color 1929 MGM Technicolor Survives Complete. Hollywood Revue of 1929 Part Color 1929 MGM Technicolor Survives Complete. Red Hot Rhythm Part Color 1929 Pathe Multicolor Only color fragment survives of this otherwise lost film. This Thing Called Love Part Color 1929 Pathe Multicolor Lost Film. His First Command Part Color 1929 Pathe Multicolor Unknown. Redskin Part Color 1929 Paramount Technicolor Survives Complete. Pointed Heels Part Color 1929 Paramount Technicolor Complete print at UCLA. Dance Of Life Part Color 1929 Paramount Technicolor Color sequence survives in black and white only. Glorifying The American Girl Part Color 1929 Paramount Technicolor Complete print at UCLA. Rio Rita Part Color 1929 RKO Radio Technicolor Complete print at MOMA. Great Gabbo, The Part Color 1929 Sono Art Multicolor Color survives in black and white only. Puttin' On The Ritz Part Color 1929 United Artists Technicolor Color Sequences Survive in Black and White Only. Broadway Part Color 1929 Universal Technicolor Color Sequences Survive In Silent Version Only. Paris Part Color 1929 Warner Brothers Technicolor Lost Film Sally All Color 1929 First National Technicolor Survives In Black and White only. Color fragment survives. Desert Song, The Part Color 1929 Warner Brothers Technicolor Color Sequences Survive in Black and White Only. On With The Show All Color 1929 Warner Brothers Technicolor Survives in Black and White Only. Show Of Shows Part Color 1929 Warner Brothers Technicolor Color Sequences Survive in Black and White Only. One Reel In Color Exists. Footlights And Fools Part Color 1929 First National Technicolor Lost Film Gold Diggers Of Broadway All Color 1929 Warner Brothers Technicolor Two Reels Survive In Color. A Romance Of Seville All Color 1929 B.I.P. Unknown Unknown Knowing Men Part Color 1929 British Talkicolor Unknown Melody Man Part Color 1930 Columbia Technicolor Survives in Black and White Only. London Revue Part Color 1930 Fox Kodacolor Unknown Delicious Part Color 1930 Fox Multicolor Unknown March Of Time Part Color 1930 MGM Technicolor Never Released Lost Film. Some Sequences Survive. This Modern Age Part Color 1930 MGM Technicolor Unknown Chasing Rainbows Part Color 1930 MGM Technicolor Color Sequences Completely Lost. Call Of The Flesh Part Color 1930 MGM Technicolor Color Sequences Survive in Black and White Only. Floradora Girl, The Part Color 1930 MGM Technicolor Survives Complete. They Learned About Women Part Color 1930 MGM Technicolor Unknown Follow Thru All Color 1930 Paramount Technicolor Survives Complete. Vagabond King, The All Color 1930 Paramount Technicolor Survives Complete. Let It Rain Part Color 1930 Paramount Technicolor Unknown Paramount On Parade Part Color 1930 Paramount Technicolor Some Color Sequences Survive. Dixiana Part Color 1930 RKO Radio Technicolor Survives Complete. Cuckoos, The Part Color 1930 RKO Radio Technicolor Survives Complete. Hit The Deck Part Color 1930 RKO Radio Technicolor Lost Film Leathernecking Part Color 1930 RKO Radio Technicolor Lost Film. Whoopee Part Color 1930 United Artists Technicolor Survives Complete. Hell's Angels Part Color 1930 United Artists Technicolor Unknown Lottery Bride, The Part Color 1930 United Artists Technicolor Color Sequences Survive in Black and White Only. King Of Jazz All Color 1930 Universal Technicolor Survives Complete. Mammy Part Color 1930 Warner Brothers Technicolor Some Color Sequences Survive. Bright Lights All Color 1930 First National Technicolor Survives in Black and White Only. Golden Dawn All Color 1930 Warner Brothers Technicolor Survives in Black and White Only. General Crack Part Color 1930 Warner Brothers Technicolor Lost Film No, No Nanette Part Color 1930 First National Technicolor Lost Film. Hold Everything All Color 1930 Warner Brothers Technicolor Lost Film Son Of The Gods Part Color 1930 First National Technicolor Color Sequences Survive in Black and White Only. Song Of The West All Color 1930 Warner Brothers Technicolor Lost Film. Song Of The Flame All Color 1930 Warner Brothers Technicolor Lost Film. Partial Soundtrack. Sweet Kitty Bellairs All Color 1930 Warner Brothers Technicolor Survives in Black and White Only. Life Of The Party All Color 1930 Warner Brothers Technicolor Survives in Black and White Only. Under A Texas Moon All Color 1930 Warner Brothers Technicolor Survives Complete. Bride Of The Regiment All Color 1930 First National Technicolor Lost Film. Showgirl In Hollywood Part Color 1930 First National Technicolor Color Sequences Survive in Black and White Only. Mamba All Color 1930 Tiffany Technicolor Survives Complete. Peacock Alley Part Color 1930 Tiffany Technicolor Survives Complete. Alf's Button Part Color 1930 Gaumont GB Unknown Unknown Harmony Heaven All Color 1930 B.I.P. Unknown Survives in Black and White Only. Elstree Calling Part Color 1930 B.I.P. Unknown Survives Complete. Just For A Song Part Color 1930 Gainsborough Unknown Unknown Viennese Nights All Color 1931 Warner Brothers Technicolor Survives Complete. Woman Hungry All Color 1931 First National Technicolor Lost Film Kiss Me Again All Color 1931 First National Technicolor Survives in Black and White Only. Fifty Million Frenchmen All Color 1931 Warner Brothers Technicolor Survives in Black and White Only. Runaround, The All Color 1931 RKO Radio Technicolor Survives in Black and White Only. Fanny Foley Herself All Color 1931 RKO Radio Technicolor Lost Film. Manhattan Parade All Color 1932 Warner Brothers Technicolor Survives in Black and White Only. Doctor X All Color 1932 First National Technicolor Survives Complete. Girl From Calgary, The All Color 1932 Monogram Cinecolor Unknown City By The Sea Part Color 1932 Paramount Technicolor Unknown Delores The Beautiful All Color 1932 Unknown Multicolor Unknown Below The Sea Part Color 1933 Columbia Technicolor Survives in Black and White Only. Broadway To Hollywood Part Color 1933 MGM Technicolor Unknown Cat And The Fiddle, The Part Color 1933 MGM Technicolor Survives Complete. House Of Rothschild, The Part Color 1933 United Artists Technicolor Survives Complete. Mystery Of The Wax Museum All Color 1933 Warner Brothers Technicolor Survives Complete. Legong All Color 1933 Bennett Technicolor Survives Complete. Skipper Of The Osprey All Color 1933 WW Jacobs GB Raycol Unknown Hollywood Party Part Color 1934 MGM Technicolor Survives Complete. Kid Millions Part Color 1934 United Artists Technicolor Survives Complete. Stingaree Part Color 1934 RKO Radio Technicolor Unknown Radio Parade Of 1935 Part Color 1934 B.I.P. Dufaycolor Unknown Kliou All Color 1934 Bennett GB Unknown Unknown Little Colonel, The Part Color 1935 Fox Technicolor Survives Complete. Roberta Part Color 1935 RKO Radio Technicolor Unknown Becky Sharp All Color 1935 RKO Radio Technicolor Survives Complete.
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the above list doesnt include all the disney color films (animation) done by walt disney and ub iwerks
the first of those was mickey mouse but the first cartoon Color sound film that was ever made was made by Iwerks (ub iwerks - after he left disney for awhile)
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So is Technicolor better or worse than our modern D8 and Digital Video recorded on Magnetic tape.
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Others:
The Technicolor process that is the most memorable, and longest-lived, is the 3-color or 3-strip technicolor process. Previously, Technicolor and other companies had used various 2-color processes, with not nearly as much success and alot of those older, not-so-fabulous releases were from that era. The 1st Full-Length Feature done in 3-color technicolor has been mentioned here: "Becky Sharp" (1937, AFAIK).
Just to be precise technically, when you shoot 3-color Technicolor, what you're actually doing is splitting a color image into 3 paths, which get filtered by Red, Blue, and Green filters. These 3 paths are then each recorded separately onto its own BLACK-AND-WHITE film stock. The reasoning here is that B/W film is inherently richer in contrast, finer in grain, and much more stable and long-lived than the color dye in std. color film. Back then, it was really the only way to go. Of course, std. color films have improved immensely, but the GOLD STANDARD of color still seems to be 3-color Technicolor. Many film archivists prefer to transfer std. color films to 3-cT, just so they can ensure the longevity of the colors in a film (for later digitizing?...).
The secret of 3-cT is the rigidly strict standards used for the specific R-G-B filters (both for recording and for projection). They are so strict that their contract requires a "Color Consultant" be present at all shoots.
Lots of fun info for you all...
Greg12:
I don't think you quite get it. 3-cT is FILM and what we're all talking about here in these forums is DIGITAL (sometimes analog) VIDEO. You really can't make a comparison.
Well, OK, let's say you want to make a comparison...
3-cT 35 or 60 or 75 mm film has a resolution of AT LEAST 4000x2000. It has a contrast ratio of 1000:1, it has a random grain (less noticeable), can record >36bit aka 64billion colors, oh yeah and records at 24 fps, progressive.
Uncompressed Std Def. Digital Video (of which DVD is a compressed version of) "601" has a resolution of 720x480 interlaced (NTSC) or 720x576 interlaced (PAL). IOW, that's 2 fields of 720x240/288. Contrast ratio of ~100:1 (can be artificially increased to ~300:1), has rectangular pixels, records either RGB 24bit or YUV16bit (color subsampled 4:2:2) or less (can't remember right now), and records at 30 (actually 29.97) fps (NTSC)/ 25 fps (PAL).
You tell me which one's better.
If you want to know what's the ranking of the most common std def. video tape formats, heres my list (from best to worst):
1. D1 (Uncompressed Component 601)
2. DigiBeta
3. DVCPro50
4. DVCPro/DVCAM
5. BetaCam SP
6. miniDV and Digital 8
7. S-VHS and Hi-8
8. 3/4" U-Matic
9. 8mm Video
10. VHS
11. VHS EP
There are other tape formats (D2, D-VHS, MII, Betamax, etc) but they aren't nearly as popular where I come from as these mentioned above.
Hoping that cleared some things up,
Scott -
If you want to see what the old 3-strip Technicolor process was capable of then see if you find the movie SUSPIRIA on DVD. I know it is available in the USA on DVD as well as other parts of the world. The film SUSPIRIA was shot around 1977 and the director (Dario Argento) had to buy the last known 3-strip technicolor film stock left in the known world.
In short the film is a visual feast for the eyes. Dario Argento and cinematographer Luciano Tovoli used Technicolor like never before ... and never again. When Argento made INFERNO in 1980 (a sequel of sorts to SUSPIRIA) he once again wanted to use 3-strip Technicolor only to realize that he had used up all known film stock of it in the world.
In short SUSPIRIA shows what the process is capable of in the hands of creative geniuses.
If you are a horror fan then you SIMPLY must BUY this film. If horror isn't your cup of tea but you consider yourself a cinema lover (as much for art as entertainment) then you should still see this movie even if you only rent it.
It will simply blow you away
- John "FulciLives" Coleman"The eyes are the first thing that you have to destroy ... because they have seen too many bad things" - Lucio Fulci
EXPLORE THE FILMS OF LUCIO FULCI - THE MAESTRO OF GORE
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Here is a pretty good slice of history by David Hayes.... Looks like 1918 or 1922? And I don't know why I said Celliouse? When my brain meant Celluiode? Spell check? Brain Fart I guess....
Milestones of color in movies (was Re: Why Black and White movies are great)
From: David P. Hayes
Newsgroups: rec.arts.tv,rec.arts.movies.current-films, rec.arts.movies.past-films
Date: Monday, March 30, 1998 1:24 PM
Robert Lipton wrote in message ...
>I expect there are others who can and will give a more complete
>explanation of the evolution of color in the movies.
1918. Release of maiden attempts of movies photographed in color. The unstable, inaccurate hues don't impress, and no major productions were shot in color at the time. Hand-stenciled color, and the tinting of whole scenes in one color, were time-honored practices by the late teens. Surviving examples of hand-stenciling look sharper than the early-1980s attempts of computer colorization.
1922. First Technicolor feature film: THE TORRENT OF THE SEAS (1922), starring Anna Mae Wong, later to become one of moviedom's regular supporting players. The process is the Technicolor company's two-color system. This process captures shades of green and red, and prints the green color range on the backside of the red range on reverse sides of the same strip of film.
1925. The Technicolor company's 2-color process achieves more success after a slow start. Among photoplays shot in it are portions of the following: the original BEN HUR (1926), Gloria Swanson's STAGE STRUCK (1925), and the original PHANTOM OF THE OPERA (1925). Swashbuckling superstar Douglas Fairbanks shoots all of THE BLACK PIRATE (1926) in this process, establishing it as the first significant feature-length film shot entirely in the only successful color process to be introduced during the silent era.
1932. The last feature films shot entirely in two-color Technicolor are MYSTERY OF THE WAX MUSEUM and DOCTOR X, both co- starring Fay Wray. The last live-action film of any kind to have scenes in two-color Technicolor is released the next year: an action drama from then-impoverished Columbia Pictures, entitled BELOW THE SEA, starring Fay Wray.
Late 1932. Technicolor has had for a year trouble selling producers on its three-color process. RKO backs out on plans to use the process on scenes in KING KONG, starring Fay Wray. Technicolor finally contracts its three-color process to Walt Disney for use in cartoons after Disney exacts a promise that no other cartoon producers be permitted to use it for three years. The other cartoon producers suddenly see the value of color and start using the otherwise-abandoned two-color Technicolor process.
1934. The first live-action release in three-color Technicolor is RKO's short LA CUCARACHA. Feature films begin to shoot scenes in three-color Technicolor, examples of which include the finale of the Eddie Cantor musical comedy KID MILLIONS. (1934).
1935. The first feature film in three-color Technicolor from beginning to end is RKO's BECKY SHARP starring Miriam Hopkins. Producers have a hard time getting major projects filmed in color because star actresses are afraid that their images will be endangered by being photographed in this "untried" process, which is likened to the garish color photographs in newspaper Sunday supplement sections. The lead actress who seemingly has the most courage to be filmed in color is Shirley Temple, whose films now frequently have Technicolor finales.
1936. The first live-action feature film to be filmed out of doors in three-color Technicolor is Paramount's TRAIL OF THE LONESOME PINE, starring Fred MacMurray, Sylvia Sidney, Henry Fonda, and Spanky McFarland of Our Gang.
1940s. Other color processes are used on feature films made by minor studios such as Republic. Republic has its own color process called Trucolor which delivers attractive flesh tones, as well as faithful greens and browns which bring out the backgrounds in the Westerns that this studio makes. Other colors in Trucolor are not so true. Other lesser studios use the inferior Cinecolor.
1950s. Technicolor's market-share in color films is again eroded. Major studios begin to use Kodak's new Eastmancolor, and some develop their own processes (e.g., Warnercolor, Metrocolor).
1974. The last film to be printed in Hollywood (to date) in IB Technicolor, which some consider to be the "true" Technicolor, is THE GODFATHER PART II. In 1977, STAR WARS will become the last film (to date) to be printed in IB Technicolor anywhere (it is printed in England). Economies of scale are such that true Technicolor can be done at a comparable cost on large print runs, but in the early 1970s the studios are ordering fewer than 100 prints for their new releases. In the 1990s, when some films are opening on 2500 screens simultaneously, there is interest in resurrecting Technicolor's three-strip process.
--
David Hayes -
Greg12:
Video and film - as mentioned earlier by Cornucopia - is not the same. Especially compressed digital video. Analog video sources - like VHS, SVHS are uncompressed, but had bad color (especially VHS) and low resolution (normal SVHS and TV broadcasta re around 350-400 lines, interlaced). Professional analog sources, like Betacam SP and Umatic are recording in RGB, thus have a bit better color, and a bit better resolution. The thing is that we see DVD (which is highly comprssed, average around 5 MBps) much better is that its color is much than average analogue sources, and its resolution can be over 600 lines (usually its 576 for PAL, NTSC is worse here too..). Compression is an another thing, but you can see the problems in some scenes (watch LotR I when Bilbo and Gandalf talking by the fire - check the background). Profesional sources can be much better,they have a higher compression ratio, DV has 25 MBps, DVcam can be 50 MBps, DVCPro is 50, Beta IMX or DIgitbeta can be much higher, some formats - I cannot remember, I think its from Panasonic- are over 500 MBps... HD resolution can be 1020 lines, non interlaced. 35 mm film is still better in some areas (70mm IMAX is much better, but its very rarely used) but its very expensive. Digit cameras are usually much cheaper, film can be shooted once, needs more light, needs developing, laboratory costs are very high. HD recordings (like the new Star Wars) can be processed with computers more easy, no need to scan the movie. Hoewer, there are only a few HD movies on this word, usually HD recordings are transferred back to 35mm at the end. I think all the standards will live for a long time, as people in the movie business are probably the most old-fashioned on the Earth. Ask a sound engineer which is the best recorder he ever used and he will say 'my Nagra, its record on analogue tape, 11 mins on 1000 meter (I think) and working without problems for the last 30 years..') dats die every day..
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