I have several 35mm Cinecolor™ films in my collection. Color has remained reasonably good, considering their age. The main issue I had is that before I acquired them, they had been tightly wound on 2" plastic cores, for probably over 20 years. This made the last 50-100ft of each reel almost impossible to focus, since the inner and outer layers of emulsion had been subjected to a slightly different radius from being stored on the small cores. My solution to the problem was to store them in a "reverse wrap' condition, on the same plastic cores, which reversed the orientation of the 'inner' and 'outer' emulsions. It took about 7 years, but this eventually got the emulsions 'bent' back into registration enough to make the last few minutes of each reel watchable. They are now stored 'tails out' on 4" lab cores, which you can get on special order. The cyan colored sound-tracks do reproduce better on some sound readers than others - - but my experience has been that most of the newer laser diode sound heads handle it well.
Excellent film about the early days of color cinema. Many of Monogram Studios films utilized this unique process. Thank you for all your hard work in making this film!!!
Some of the clips you showed were amazing! I'd love to see "Prehistoric Women" and "Riders to the Stars" looking as good as they do in these clips on Blu-ray or DVD.
I didn’t know that there had been a three colour version. I have handled a few Cinecolor 35 mm and 16 mm prints, and wondered about the soundtrack and how it was able to use a dye image rather than the silver of Technicolor or the dye plus redeveloped silver of Eastmancolor. I read somewhere that the blue/cyan toning was done using an iron compound which absorbed strongly in the infrared, and so could be read with conventional incandescent exciter lamps and infrared sensitive photocells unlike the cyan dye tracks introduced in recent years which required projectors to be converted to red light readers.
Oh Jack! Great documentary on all accounts. Would be great to go back into time and see a actual feature in the theatre in the Cinecolor process. By the way, I do have your JACK AND THE BEANSTALK.
I hope more CineColor films get released on Blu-Ray!
I have several 35mm Cinecolor™ films in my collection. Color has remained reasonably good, considering their age. The main issue I had is that before I acquired them, they had been tightly wound on 2" plastic cores, for probably over 20 years. This made the last 50-100ft of each reel almost impossible to focus, since the inner and outer layers of emulsion had been subjected to a slightly different radius from being stored on the small cores. My solution to the problem was to store them in a "reverse wrap' condition, on the same plastic cores, which reversed the orientation of the 'inner' and 'outer' emulsions. It took about 7 years, but this eventually got the emulsions 'bent' back into registration enough to make the last few minutes of each reel watchable. They are now stored 'tails out' on 4" lab cores, which you can get on special order. The cyan colored sound-tracks do reproduce better on some sound readers than others - - but my experience has been that most of the newer laser diode sound heads handle it well.
Excellent film about the early days of color cinema. Many of Monogram Studios films utilized this unique process. Thank you for all your hard work in making this film!!!
Note TOR JOHNSON in "The Lady in the Iron Mask".
Loved it. Beautifully explained. More, please!
Fabulous
Great job, Jack!
Some of the clips you showed were amazing! I'd love to see "Prehistoric Women" and "Riders to the Stars" looking as good as they do in these clips on Blu-ray or DVD.
Stay tuned!
"Pride of the Blue Grass" was the sequel to "Pride of the Green Sky" in 2-strip Technicolor.
Great documentary
I didn’t know that there had been a three colour version.
I have handled a few Cinecolor 35 mm and 16 mm prints, and wondered about the soundtrack and how it was able to use a dye image rather than the silver of Technicolor or the dye plus redeveloped silver of Eastmancolor. I read somewhere that the blue/cyan toning was done using an iron compound which absorbed strongly in the infrared, and so could be read with conventional incandescent exciter lamps and infrared sensitive photocells unlike the cyan dye tracks introduced in recent years which required projectors to be converted to red light readers.
THIS. IS. JUST. PLAIN. WONDERFUL. THANK YOU!!!
Nice!
Very informative! Thank you!
Very well put together. Thanks for sharing.
Oh Jack! Great documentary on all accounts. Would be great to go back into time and see a actual feature in the theatre in the Cinecolor process. By the way, I do have your JACK AND THE BEANSTALK.
Informative and entertaining. Fantastic! Thanks for the enjoyable walk down memory lane.