A bit more expensive than two-strip, but Filmstyles has a "Three-Strip Technicolor" filter for Final Cut Pro X for $99.99 (filmstyles.dvcreators.net ).
There has to be one hyper-wealthy lover of the arts out there that wouldn't mind losing a ton of cash on a movie so the world can enjoy Technicolor one more time, right? I'd love to see what Tarantino or Wes Anderson would make with such a vibrant and saturated palate.
It's unfortunate these machines were completely disabled when there should be at least 2 in museums somewhere. I mean it's huge part of cinema history.
I remember visiting LA in 1974 as a young aspiring filmmaker from Sydney, ringing Technicolor labs in the hope of having a tour, to my disappointment they never conducted any. Such was the mystique of this legendary film process. Shot in ''TECHNICOLOR'' was a logo which etched itself into my visual memory at an early age, when I saw my first Western, the other which was so closely linked, was ''Filmed in Cinemascope''.
The problem is that the setup was only cost effective when producing hundreds of prints in the days of the cinema. As television became the mainstream form of daily entertainment and families no longer visited the cinema around twice a week the process was no longer viable. At 2:44 on this video, you can see a variable density soundtrack produced by a galvanometer. The improved variable area tracks produced by a light valve and shown as duel unilateral at 4:20 gave a far better frequency response and dynamic range, but were difficult to maintain in register. As the tracks improved to duel bilateral and then the 2 halves were tracked separately a the introduction of stereo sound from optical the accuracy of printing became impossible. In a strange way, digital projection in the cinema today has more similarities to dye transfer film projection than to projecting a colour film, since each colour is separate and calibrated in the projector. At 4K resolution, the cinema can produce an image quality or 4.000 pixels per horizonal line, making it comparable with 70mm film. The refresh rate is also no longer limited to 24fps.
Heartbreaking loss. I adore the dreamworld larger-than-life quality it brings to films, especially useful for highlighting colour symbolism. There must be a way of replicating the effect on a computer!
Not yet. They tried it with The Aviator and it looked similar, especially in contrast to the two color segment before, but it isn't the same. They can't even emulate modern color negative film, even though they came very close in Knives Out, but again it's not the same. Too much credit is given to modern software. We are at the point of diminishing returns: double the effort and you'll improve about 1%. I have never seen a projected print of a technicolor print, just a few frames of 35mm film. It looks absolutely fantastic.
I know Technicolor no longer does film processing and printing but they should come back to it or at least sell or rent their printing process plans to other film processors, or work with film restoration with negatives. I would imagine being difficult and expensive trying to return to printing films since the majority of theatres are digitally printed.
I agree. With the ongoing battle between film and digital, this should be a good idea, as an advantage of film prints over digital prints, especially in a time like this.
While this is fascinating, I'm afraid that there is some misleading information about Warner's having exclusivity to Technicolor when clips from THE KING OF JAZZ are shown. This was from Universal.
I wish i was born in the 40s cause my mind is stuck in these old ways of photography as its the most interesting way photographs were taken Im still wishing to this day that i was born in that time as this new age isn't something that seems very approachable to newer generations, it makes me sad that these forms of media from this time is being forgotten about after centuries since it was first introduced and that the newer generations will never be able to see these once great feats of engineering
The K in CMYK actually means Black. I don't know why they determined that it wouldn't be B. When I worked in print magazine production that was the first question I asked and was given a stern look by the printer. (I suspect he didn't know the answer either and didn't appreciate my young upstart questioning of everything.)
What in the hell was this? A thumb-nail sketch of Technicolor enviously made by Eastman without any offer for an in-depth version, Eastman or not? I Will say the final sentence speaks well for the inexplicable
I wonder if all this old machinery is still stored somewhere after bring dismantled - the old tri-strip process was superb, and created beautiful images. I am so glad the classic films like GONE WITH THE WIND were done in this superb process. More "modern" processes like Metrocolor and Eastmancolor fade to hideous magenta. I saw RYAN'S DAUGHTER in Metrocolor and it was faded and horrid. Modern CGI effects cannot compare with this classic process. If I was a billionaire I would revive it. It would probably cost about $10 million to recreate the machinery, but the effort would be worth the expenditure.
This is brilliant, and will be sharing on my channel. Thanks so much GEH, and James Layton. Looking forward to the book! Matias Bombal "Matias Bombal's Hollywood"
HotWax93 ... Not really because it's a photochemical process. However we do the opposite during film restorations. In other words the 3 separation negatives are scanned separately into the digital domain and combined digitally. This allows us to correct for film warpage, shrinkage, and damage that would otherwise prevent us from reprinting the film. But alas we cannot make a dye transfer print from the digital files because the equipment and process are gone. We can only output to modern color film or digital cinema files.
It's from the 1935 Mickey Mouse Short "The Band Concert" where a tuba falls on Donald Duck, but he continues to play his flute. en.wikipedia.org/wiki/The_Band_Concert
Universal studios, in Universal City, located in North Hollywood owned the Technicolor lot on Lankershim, North Hollywood and rented it to Technicolor. Technicolor executives should have bought the land more than 50 years ago when they moved there from the Hollywood plant, in Hollywood and they had the option. Technicolor thought Universal would always allow them to rent the location . After universal canceled the lease, Technicolor had to move. There were many reasons why Technicolor closed its doors on the dye transfer system. That was one of the main reasons. It would cost a fortune to rebuild, that's if any Cinematic Technicolor Engineers even knew how, or how to keep it running, or what mechanical engineering it required. It is a shame to let that go. Just what I think.
Eastman color would have been better for TV shows. but for movies Technicolor was probably the better option. both processes had their strength and weaknesses, Eastman color is easier to use, but the colors were not as vibrant Technicolor was harder to use, but necesary to achieve a certain vibrance to the film
I wonder what about the convergency problem, 3 colors are 3 images in each frame, like a printing proccess of a magazine page. In fact, several times even being super acurate the feeting there are problems on it. Any little unfeet of image, when is projected this problem will be magbified. Same as printing page, there us a fourth film with b/w image, for giveing it better dark areas, due 3 colors xyan, magenta and yellow togheter never give a clean black tone, it looks brownish.
I just recently bought Deanna Durbin's only Technicolor picture called "Can't Help Singing." It's stunningly beautiful - and the first scene of Deanna singing while driving a carriage will take your breath away. How sad Technicolor abandoned this superior process. I hope filmmakers realize what they've lost.
i just learned that even after the talkies were introduced that there was demand for some cement process prints ,cause they looked more sharper.How could one use the cement process on the movie tone ? It was probably used for the disc process sound version.
Re your web membership web address as shown at the end of this, and the other videos in this series . . . Error 403 - Forbidden You tried to access a document for which you don't have privileges. ! ? Steve Bell.
Technicolor’s imbibition printing was revived in the late 1990s for a few years. New technology allowed for the prints to be produced over a much shorter distance and didn’t require all the holes in the walls and floors, but the process was still very labor intensive and time-consuming. It was used to produce new prints of ‘Gone With The Wind’ and ‘The Wizard of Oz’ for their 60th anniversaries. Technicolor tried to keep it going and the process was used for a few new pictures like ‘Saving Private Ryan’ and ‘Toy Story’. But ultimately the extra expense and extra time needed for the prints proved to be unfeasible for the movie industry, and it was dismantled again.
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I'd like to see a new movie which photographed in three strip technicolor process.
I think it would also be cool to see a new movie that emulates the look of the two colour process films from the early days of Technicolor.
@@PkmariO64 The Aviator from Martin Scorsese was made to look like 2 and 3 strip technicolor.
@@PkmariO64 - well, for $5 and a copy of Final Cut Pro X, you can get that effect!
fcpxtemplates.com/technicolor-2-strip-process/
A bit more expensive than two-strip, but Filmstyles has a "Three-Strip Technicolor" filter for Final Cut Pro X for $99.99 (filmstyles.dvcreators.net ).
@@drbinderust How could you applefanboies so confidence about your Mac? Can it output dyed films?
There has to be one hyper-wealthy lover of the arts out there that wouldn't mind losing a ton of cash on a movie so the world can enjoy Technicolor one more time, right? I'd love to see what Tarantino or Wes Anderson would make with such a vibrant and saturated palate.
It's unfortunate these machines were completely disabled when there should be at least 2 in museums somewhere. I mean it's huge part of cinema history.
I heard that all printers were sold in China in 1975.
The IB process was brought back in the 90s, but was discontinued again in 2002.
I remember visiting LA in 1974 as a young aspiring filmmaker from Sydney, ringing Technicolor labs in the hope of having a tour, to my disappointment they never conducted any.
Such was the mystique of this legendary film process.
Shot in ''TECHNICOLOR'' was a logo which etched itself into my visual memory at an early age, when I saw my first Western, the other which was so closely linked, was
''Filmed in Cinemascope''.
The Red Shoes Technicolour is simply the most beautiful piece of cinematic art, I've ever seen recorded.
It won a well-deserved Oscar for Best Art Direction.
I can’t believe that this process isn’t still around. Like, I mean we know how it’s done at least, can some eccentric billionaire help us out.
that's how i feel about a newly produced super 8 camera!
That would be very cool if it happened. What a look!
The problem is that the setup was only cost effective when producing hundreds of prints in the days of the cinema.
As television became the mainstream form of daily entertainment and families no longer visited the cinema around twice a week the process was no longer viable.
At 2:44 on this video, you can see a variable density soundtrack produced by a galvanometer. The improved variable area tracks produced by a light valve and shown as duel unilateral at 4:20 gave a far better frequency response and dynamic range, but were difficult to maintain in register. As the tracks improved to duel bilateral and then the 2 halves were tracked separately a the introduction of stereo sound from optical the accuracy of printing became impossible.
In a strange way, digital projection in the cinema today has more similarities to dye transfer film projection than to projecting a colour film, since each colour is separate and calibrated in the projector.
At 4K resolution, the cinema can produce an image quality or 4.000 pixels per horizonal line, making it comparable with 70mm film. The refresh rate is also no longer limited to 24fps.
It's sad that this process is no longer available to us. I wonder if there is a process that approximates this technicolor process?
Heartbreaking loss. I adore the dreamworld larger-than-life quality it brings to films, especially useful for highlighting colour symbolism. There must be a way of replicating the effect on a computer!
No
Not yet. They tried it with The Aviator and it looked similar, especially in contrast to the two color segment before, but it isn't the same. They can't even emulate modern color negative film, even though they came very close in Knives Out, but again it's not the same. Too much credit is given to modern software. We are at the point of diminishing returns: double the effort and you'll improve about 1%. I have never seen a projected print of a technicolor print, just a few frames of 35mm film. It looks absolutely fantastic.
Infact The Godfather part 2 was the last film to use technicolor 3 strip process
I know Technicolor no longer does film processing and printing but they should come back to it or at least sell or rent their printing process plans to other film processors, or work with film restoration with negatives. I would imagine being difficult and expensive trying to return to printing films since the majority of theatres are digitally printed.
I agree. With the ongoing battle between film and digital, this should be a good idea, as an advantage of film prints over digital prints, especially in a time like this.
Technicolor does digital lab job now .
While this is fascinating, I'm afraid that there is some misleading information about Warner's having exclusivity to Technicolor when clips from THE KING OF JAZZ are shown. This was from Universal.
I wish i was born in the 40s cause my mind is stuck in these old ways of photography as its the most interesting way photographs were taken
Im still wishing to this day that i was born in that time as this new age isn't something that seems very approachable to newer generations, it makes me sad that these forms of media from this time is being forgotten about after centuries since it was first introduced and that the newer generations will never be able to see these once great feats of engineering
So the “k” in “cmyk” is for key?? That’s really cool
The K in CMYK actually means Black. I don't know why they determined that it wouldn't be B. When I worked in print magazine production that was the first question I asked and was given a stern look by the printer. (I suspect he didn't know the answer either and didn't appreciate my young upstart questioning of everything.)
They didn't use the B for Black because it would cause confusion with the RGB (Red, Green and Blue) acronym used for additive color synthesis
@@francescamicheletti9630 wow that makes a lot of sense
What in the hell was this? A thumb-nail sketch of Technicolor enviously made by Eastman without any offer for an in-depth version, Eastman or not? I Will say the final sentence speaks well for the inexplicable
I wonder if all this old machinery is still stored somewhere after bring dismantled - the old tri-strip process was superb, and created beautiful images. I am so glad the classic films like GONE WITH THE WIND were done in this superb process. More "modern" processes like Metrocolor and Eastmancolor fade to hideous magenta. I saw RYAN'S DAUGHTER in Metrocolor and it was faded and horrid. Modern CGI effects cannot compare with this classic process. If I was a billionaire I would revive it. It would probably cost about $10 million to recreate the machinery, but the effort would be worth the expenditure.
Thank you Daniel F Cumsock
One of the last American films printed by Technicolor was The Godfather Part II (1974)
But hey there was Technicolor process 5 which was used to define movies shot in Eastman Color and printed in Technicolor for extra vibrance and detail
This is brilliant, and will be sharing on my channel. Thanks so much GEH, and James Layton. Looking forward to the book!
Matias Bombal
"Matias Bombal's Hollywood"
A very complicated process
how would they make copies of each film for multiple theaters?
Is there any way that they could create a digital form of this process for film use?
HotWax93 ... Not really because it's a photochemical process. However we do the opposite during film restorations. In other words the 3 separation negatives are scanned separately into the digital domain and combined digitally. This allows us to correct for film warpage, shrinkage, and damage that would otherwise prevent us from reprinting the film.
But alas we cannot make a dye transfer print from the digital files because the equipment and process are gone. We can only output to modern color film or digital cinema files.
Ein wunderbares Video und eine großartige Technik, die nur noch selten original im Kino zu sehen ist. Vielen Dank!
Nowdays movies look like shit.
4:25 hey you can see the optical sound track on the left.
240 foot long pin belt?! Is that correct?
Thank you for these series. This is amazing.
what animation was the example at 0:50 from?
It's from the 1935 Mickey Mouse Short "The Band Concert" where a tuba falls on Donald Duck, but he continues to play his flute. en.wikipedia.org/wiki/The_Band_Concert
This is way better than the rad and green one
i need the tutorial please!
FANTASTICALLY SUPERB INFORMATION --- THANKS !! FROM U.K. (2021).
Universal studios, in Universal City, located in North Hollywood owned the Technicolor lot on Lankershim, North Hollywood and rented it to Technicolor. Technicolor executives should have bought the land more than 50 years ago when they moved there from the Hollywood plant, in Hollywood and they had the option. Technicolor thought Universal would always allow them to rent the location . After universal canceled the lease, Technicolor had to move. There were many reasons why Technicolor closed its doors on the dye transfer system. That was one of the main reasons. It would cost a fortune to rebuild, that's if any Cinematic Technicolor Engineers even knew how, or how to keep it running, or what mechanical engineering it required. It is a shame to let that go. Just what I think.
Excellent, thank you for making this great overview.
Eastman color would have been better for TV shows.
but for movies Technicolor was probably the better option.
both processes had their strength and weaknesses, Eastman color is easier to use, but the colors were not as vibrant
Technicolor was harder to use, but necesary to achieve a certain vibrance to the film
I wonder what about the convergency problem, 3 colors are 3 images in each frame, like a printing proccess of a magazine page. In fact, several times even being super acurate the feeting there are problems on it. Any little unfeet of image, when is projected this problem will be magbified. Same as printing page, there us a fourth film with b/w image, for giveing it better dark areas, due 3 colors xyan, magenta and yellow togheter never give a clean black tone, it looks brownish.
I just recently bought Deanna Durbin's only Technicolor picture called "Can't Help Singing." It's stunningly beautiful - and the first scene of Deanna singing while driving a carriage will take your breath away. How sad Technicolor abandoned this superior process. I hope filmmakers realize what they've lost.
The bankers and corporations that took over Hollywood don't care about quality or beauty - they want profits.
👍
Is dye transfer adding color with dye in lab?
i just learned that even after the talkies were introduced that there was demand for some cement process prints ,cause they looked more sharper.How could one use the cement process on the movie tone ? It was probably used for the disc process sound version.
It’s was interesting lesson on the original film processing
This is so cool
Incredible.
Enjoyed!
Re your web membership web address as shown at the end of this, and the other videos in this series . . .
Error 403 - Forbidden
You tried to access a document for which you don't have privileges.
! ?
Steve Bell.
Technicolor’s imbibition printing was revived in the late 1990s for a few years. New technology allowed for the prints to be produced over a much shorter distance and didn’t require all the holes in the walls and floors, but the process was still very labor intensive and time-consuming. It was used to produce new prints of ‘Gone With The Wind’ and ‘The Wizard of Oz’ for their 60th anniversaries. Technicolor tried to keep it going and the process was used for a few new pictures like ‘Saving Private Ryan’ and ‘Toy Story’. But ultimately the extra expense and extra time needed for the prints proved to be unfeasible for the movie industry, and it was dismantled again.