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Most all films these-days have a yellowy/green or blue tint/blur to them that I don't really like. So whatever happened to Technicolor or Eastman color.
Regards,
Mike
Follow Ups:
Basically, Technicolor is (was) a '3-strip' process that produced three actual negatives used to make the final print, although later on, (2) of the strips were combined. The process is very similar to 'dye-transfer' printing, which is used for the highest quality exhibition prints. Technicolor required a special large camera that made it cost-prohibitive for anything but the largest studios. The dyes used in Technicolor are considered 'archival' and will last indefinitely if stored properly.
Technicolor evidently caught on big with Hollywood in the early '30s, then faded considerably during the Depression, then experienced a resurgence in the '40s and '50s. There are many Technicolor movies from the early '30s (some made with the 2-strip process) that now exist only in black-and-white versions.
The big innovation behind Eastmancolor was that it needed only a single strip (negative) to produce, thus greatly lowering costs. The colors were not as vivid as Techicolor, and not nearly as archival.
technicolor was a great look. the film stock was super saturated to the point where it impaired focus. but the thing that has changed over the years has little to due with technicolor. it has more to do with the way films are lit today. in technicolor's heyday films were lit with carbon-arc lights. these lights produced an even beam through the color spectrum. todays hmi lights don't produce an even beam, rather, they concentrate on certain parts of the color spectum. also tech. has progressed to the point where films are being lit with l.e.d. lights. things change, but don't look for the technicolor look to reappear anytime soon.
cheers,
erik
If you're referring to new films that looked porocessed; a lot of good movies are being visually screwed up by directors who can't leave well enough alone. Computers allow color and contrast effects to be added easily, maybe too easily.
As the guy who jumped off the 20-story building shouted as he passed the 10th Floor "So far..so good!"
...are usually designed into them when they're shot. Any self-respecting Director of Photography will have a range of techniques at their disposal to work in a given color range. The production designer also has a great impact here. But of course the "color-correction" session gives a great deal of control not only of overall color but it's possible to isolate areas in the frame and adjust them individually. It can make an amazing difference in how a film looks and the level of visual consistency achieved through it's entire length.
I prefer a non naturalistic look for comic-book movies, which are fundamentally non-realistic. It's really just a way of creating mood. Why would you want a film like Batman to look just the same as a natural-looking romantic comedy? A realistic look is really no more or less a creative decision than using a more limited and muted palette...
I don't disagree. Its the over use and distraction that I don't like. I think when the viewer comes away from a remembering the color shading first, the director probably over did it.
As the guy who jumped off the 20-story building shouted as he passed the 10th Floor "So far..so good!"
technological limitations.
It's some sort of cliché founded on the belief that the future is going to be dark, negative.
I don't know why.... Communist China and Russia prominently featured RED!
The original imbibition process and equipment was. I heard, sold to the Red Chinese. The last imbibition color prints made in this country was THE GODFATHER. The imbibition color byes were very stable and would last the test of time and would not fade. Original prints of GONE WITH THE WIND have been found that still have their vivid color. I thought Technicolor was still in business but they use the Eastman Kodak process with their refinements. Eastman Color (by Kodak) still survives and has the lion share of the color market but color dyes in this process is short lived and gradually goes purple with use and age. Film stock is still made by Fuji and Agfa. The film also shrinks with age depending on how it is stored. About the only protection to a priceless piece of cinema is to make 3 B&W (magenta, yellow, and cyan) color seperations on Estar base stock that doesn't shrink. But this is costly and many producers opt out for max profits. Ray Hughes
"A discriminating irreverence is the protector and creator of a democratic society." Mark Twain
Hi, So is the yellowy/green or blue tint/blur to most films that I watch, e.g. Traffic, The kingdom, a gimmick or something that can't be avoided. This all seems to be a trad since the film Terminator with its blue tint. Thanks.
Regards,
Mike
The Technicolor product was very high quality. Most films mastered in Technicolor can be restored if Technicolor vaulted the original. They also worked hand in hand with the cinematographer and director, to achieve effects (de-saturation, over saturation, black and white with one pink or red flower standing apart, over blue to achieve what is called day for night etc,(de-saturation in MOBY DICK by John Houston) It's very difficult to shoot at night with very big expenditure of energy in lighting so many times they shoot in daylight, stop down 1 1/2 stops and add blue tint. Ray Hughes
"A discriminating irreverence is the protector and creator of a democratic society." Mark Twain
Do not think that because a new film has a certain 'tone' to its color, it means the film stock is bad. These decisions re: color are made by the director/cinematographer and can also be further altered in post production. Modern stocks from Kodak, such as their Vision stocks, and also Fuji's offerings are some of the finest-grain, most accurate 35mm film ever made. It's all about what you want to do with it.
Now, actual fade is the curse of some film stocks, and Eastmancolor up until the mid-90es was just horrible, losing all greens and blues, giving us innumerable 'red' prints in both Super-8 and 16mm films (and 35mm) over the years. I had to return an otherwise very nice 16mm print because the fade had turned most everything pink.
Best,
CC.
bleep
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