20:
434:, to promote its color process in its own feature films. Joseph Bernhard, president of Film Classics, became vice president of Cinecolor. Seven months later, Cinecolor president and founder William Crespinel stepped down, and Bernhard assumed the Cinecolor presidency on May 15, 1948. Entering the production field proved to be a risky move, as Film Classics' original productions weren't successful enough to sustain the studio, which left the scene in 1951.
514:
applied on the blue-yellow side in a blue soundtrack but separate from those records. The final prints had vivid dyes that did not fade and were of acceptable grain structure and sharp in focus. The common perception of
Cinecolor prints being grainy and not easily focused is perpetuated by 16 mm, regular-process Cinecolor prints in which those elements are an issue.
159:
several advantages over
Technicolor: color rushes were available within 24 hours (Technicolor took four days or more); the process itself cost only 25% more than black-and-white photography (the price lowered as larger amounts of Cinecolor film stock were bought), and it could be used in modified black-and-white cameras.
513:
Printing SuperCinecolor was not difficult, as it was engineered to use the old process' equipment. Using duplitized stock, one side contained a silver emulsion toned red-magenta and, on the other side, cyan-blue. A yellow layer was added on the blue side by imbibition. The soundtrack was subsequently
509:
film, for principal photography. After the negative was edited, it was copied through color filters into three black-and-white negatives. An oddity of the system was that rather than using cyan, magenta, and yellow primary subtractive colors, SuperCinecolor printed its films with red, blue and yellow
568:
Color
Corporation of America was bought out on April 8, 1954 by Houston Color Film Laboratories, which processed Anscocolor at its plant in Los Angeles, and Houston Fearless Corp., which made processing and developing equipment. It became strictly an Anscocolor processor. Color Corp. sold its film
340:
noted that "Cinecolor's service charges are also lower than
Technicolor's, and the cost differential on a standard feature will exceed $ 50,000 by the time prints have been made, an important sum for a low-budget picture." When more producers opted for Cinecolor, the company was able to reduce the
158:
The company was largely founded on the patents and equipment of
William Van Doren Kelley and his Prizma Color system, and was in direct competition with Multicolor, which folded in 1932, and Cinecolor then bought its equipment. Although its color spectrum was limited by comparison, Cinecolor had
437:
Meanwhile, on the technical front, 1948 was important for the
Cinecolor Corporation, which introduced a new supersensitive negative stock that cut back on the on-set lighting costs by 50 percent and 1,000-foot (300 m) camera film magazines. Combined, they reduced the cost of shooting in
548:
prints and did commercial film processing and printing of non-theatrical films, and black-and-white film processing for television. To stimulate its theatrical film business, Color Corp. financed independent movie producers. The last theatrical feature with a SuperCinecolor credit was
522:
Cinecolor Corp. operated at a net loss from 1950 to 1954, partly because the weak financial position of its division in
England made it necessary for the parent company to refinance it and partly because of its own operating losses. The last American feature released in Cinecolor was
300:
expanded the
Cinecolor line to the 16mm and 8mm film formats, reprinting the Ub Iwerks ComiColor cartoons until 1951. Cinecolor emerged from bankruptcy in October 1944, with all creditors paid in full. Its stock price (only four cents a share in 1943) jumped to $ 8.50 in 1946.
335:
The commercial and critical success of those films led both major and minor studios to use
Cinecolor as a money-saving measure. Cinecolor 35mm film stock cost about 25% less than Technicolor (in 1946, 4.5 cents a foot for Cinecolor vs. 5.97 cents a foot for Technicolor).
886:
Color in Motion
Pictures and Television by Lyne S. Trimble was a textbook for Professor Trimble's class, who had worked for Cinecolor for many years. It described the process and might not have used the word "imbibition" for the re-exposure of the duplitized stock after
344:
Cinecolor's erstwhile principal investor, William Loss, was now the company's vice president and general manager, and he promoted Cinecolor to Hollywood producers. The first to adopt an all-Cinecolor policy was pioneer comedy producer
296:-- was not enough to keep the company solvent, and Cinecolor went into voluntary bankruptcy in 1942. An upsurge in commercial and industrial films made in color improved the company's balance sheet, and in 1942 home-movie distributor
387:
westerns (1949). Most features made in Cinecolor were outdoor adventures and westerns, because the main color palette in those films consisted of blues, browns, and reds, and so the system's limitations were less apparent.
81:
strip behind it. The orthochromatic film stock recorded only blue and green, and its orange-red dye (analogous to a Wratten 23-A filter) filters out everything but orange and red light to the panchromatic film stock.
92:
and developed as black and white positives. One side containing the red-orange filtered recorded and the soundtrack was toned blue-green; the other side containing the blue-green record was toned red-orange.
85:
Since the distance to the two film emulsions differed in depth from a single emulsion, the camera's lens focus had to be adjusted and a special film gate added to accommodate a bi-pack negative.
569:
processing laboratory in mid-1955 to provide its television and motion picture equipment-making division a laboratory in which to test its equipment, and the corporation was dissolved.
510:
matrices to create a system that was compatible with the previous printers. The result of the combination of the color spectra was an oddly striking look to the final print.
59:
system of the late 1920s and the 1930s. It was developed by William T. Crispinel and Alan M. Gundelfinger, and its various formats were in use from 1932 to 1955.
422:). Trucolor differed from Cinecolor, however, in that it used a dye-coupler already built into the film base, rather than the application of chemical toner.
353:
in Cinecolor beginning in 1947. Other studios followed Roach's lead, and Cinecolor enjoyed a popular vogue in the mid- to late 1940s with such features as
139:
After leaving Multicolor, Crespinel co-founded the Colorfilm Corporation of California in 1932. By May 1932, the name of the company was changed to
162:
Before 1945, Cinecolor was used almost exclusively for short subjects. From 1932 to 1935, at least 22 cartoons were filmed in Cinecolor, including
96:
Cinecolor could produce vibrant reds, oranges, blues, browns and flesh tones, but its renderings of other colors such as bright greens (rendered
1035:
218:(1934); and the Iwerks fairytale cartoons that began in November 1933. Cartoon producers returned to Cinecolor in the late 1940s: the
147:). William Loss, a director of the Citizens Traction Company in New York, was its principal investor. The company bought four
458:
1030:
529:
524:
1020:
464:
806:
536:
Donner Corporation, a private investment organization, acquired Cinecolor Corp. in June 1952. In 1953, it became the
402:
from the end of 1946 for a variety of films ranging from Westerns and travelogues to major productions (the life of
696:
World War I Draft Registration Cards, 1917–1918, State of New Jersey, County of Bergen, Draft Board 3, 5 June 1917.
314:
305:
233:
958:
470:
249:
418:
395:
254:
656:
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 102-106.
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350:
324:
88:
In the laboratory, the negatives were developed and the orange-red dye removed. The prints were made on
588:
292:
578:
452:
48:
19:
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733:
632:
Crespinel, William T. (1933): As to Cinecolor. In: American Cinematographer, 14, pp. 355, 380-381.
183:
117:
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SuperCinecolor used black-and-white separations produced from monopack color negatives made with
73:
As a bipack color process, the photographer loaded a standard camera with two film stocks: an
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8:
413:
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319:
171:
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Belton, John (2000): CinecoIor. In: Film History, 12,4, Color Film (2000), pp. 344-357.
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in November 1953. Thereafter, "Color by Color Corp. of America" was used for films like
794:
379:
277:
175:
132:, another color film company, founded by William Van Doren Kelley. He later worked for
318:, was the studio's highest-grossing film, and PRC's series of Cinecolor westerns with
802:
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482:
391:
369:
364:
346:
309:
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273:
264:
The first feature-length pictures released in Cinecolor were the documentary feature
41:
30:
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were Cinecolor's chief contractors in the mid-1940s. A 1945 PRC Cinecolor release,
167:
163:
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282:
207:
195:
89:
25:
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of 1947-1949. Cinecolor was also prominently employed in processing Paramount's
403:
228:
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for its processing plant. Crespinel retired as president of Cinecolor in 1948.
116:
The Cinecolor process was invented in 1932 by the English-born cinematographer
74:
45:
717:
713:
709:
705:
1014:
431:
856:, "Color Films to 70% Soon, Joseph Bernhard Predicts," April 24, 1948, p.20.
877:
Original separations for "Abbott and Costello Meet Captain Kidd" (WB, 1952)
554:
545:
506:
359:
297:
223:
219:
78:
68:
272:(1936, but filmed in Multicolor in 1931 and starring Multicolor executive
608:
329:
238:
125:
121:
896:"Cinecolor Corp. Plans To Lay Off 'Substantial' Personnel Temporarily",
773:, "Increased Use of Color Seen for 1940-41 Season", Aug. 3, 1940, p. 44.
341:
cost of printing, which made Cinecolor an even more attractive option.
598:
502:
476:
408:
276:). A short-term burst of feature-film activity in 1939 -- yielding the
258:
243:
187:
133:
97:
56:
785:, "Cinecolor Now Rated as a Formidable Factor", September 1946, p. 32.
136:
and patented several inventions in the field of color cinematography.
1007:
with many written resources and many photographs of Cinecolor prints.
955:
446:
Cinecolor's Alan Gundelfinger developed a three-color process called
384:
179:
710:
Method and Apparatus for Placing Sound Records in Color Photography
613:
487:
399:
128:'s American unit. After that company folded in 1916, he worked for
868:, "New Sensitized Film Cuts Lighting Costs," July 17, 1948, p. 43.
253:
series of live-action shorts, although later prints were made by
105:
456:. Other films of note that used the SuperCinecolor process were
603:
498:
129:
101:
52:
124:
Corporation in 1906 and went to New York in 1913 to work with
541:
430:
In October 1947 Cinecolor bought a film production company,
494:
148:
658:
https://filmcolors.org/timeline-entry/1297/#/infobox/37342
646:
https://filmcolors.org/timeline-entry/1297/#/infobox/37341
634:
https://filmcolors.org/timeline-entry/1297/#/infobox/37340
540:, specialized in SuperCinecolor printing, and was a major
941:"Donner Corp. Sells Interest In Color Corp. of America",
844:, "Cinecolor Takes Film Classics," Oct. 18, 1947, p. 20.
438:
Cinecolor to only 10 percent more than black and white.
322:
attracted attention among exhibitors. Screen Guild's
683:, June 24, 1987, p. B10. Passenger list of the S.S.
450:
in 1948. but did not begin using it until 1951 with
1000:
Cinecolor History at The American Widescreen Museum
679:"William Crespinel, 96; Pioneer in Color Films",
1012:
832:, "Movies: Profit Through Loss", Sept. 23, 1946.
486:(1954). The latter two were both also filmed in
33:, an animated short which makes use of Cinecolor
1005:Cinecolor on Timeline of Historical Film Colors
924:
922:
908:
906:
718:Colored Photograph and Method of Making Same
687:, Port of New York, 3 February 1913, p. 16.
304:Lower-budgeted companies such as Monogram,
989:(Coral Reef Publications, 1973), pp 15-19.
919:
903:
761:(Coral Reef Publications, 1973), pp 15-19.
714:Method of Producing Films in Natural Color
268:(1934) and the independently made western
18:
1013:
55:system of the 1910s and 1920s and the
16:Early two-color motion picture process
459:Abbott and Costello Meet Captain Kidd
728:
726:
13:
972:
186:. Notable Cinecolor cartoons were
14:
1047:
1036:Audiovisual introductions in 1932
993:
987:Hollywood's Poverty Row 1930-1950
759:Hollywood's Poverty Row 1930-1950
723:
441:
799:Castle Films: A Hobbyist's Guide
954:California Secretary of State,
948:
935:
890:
880:
871:
859:
847:
835:
823:
811:
788:
776:
764:
306:Producers Releasing Corporation
751:
699:
690:
673:
662:
650:
638:
626:
349:, who made all of his postwar
182:, for independent distributor
1:
747:– via Internet Archive.
619:
517:
538:Color Corporation of America
425:
255:Consolidated Film Industries
120:(1890–1987), who joined the
77:strip dyed orange-red and a
7:
1031:Motion picture film formats
818:International Projectionist
801:, iUniverse, 2004, p. 203.
783:International Projectionist
669:Social Security Death Index
572:
338:International Projectionist
266:Sweden, Land of the Vikings
10:
1052:
978:John Belton, "Cinecolor,"
956:California Business Portal
589:List of color film systems
293:The Gentleman from Arizona
111:
66:
1021:Film and video technology
982:12:4 (2000), pp. 344-357.
928:"Abreast of the Market",
916:, August 26, 1955, p. 15.
912:"Abreast of the Market",
579:Color motion picture film
453:The Sword of Monte Cristo
104:(rendered a sort of dark
62:
740:. 1932-05-03. p. 21
734:"Cinecolor Materializes"
544:processor. It also made
310:Screen Guild Productions
118:William Thomas Crespinel
51:that was based upon the
943:The Wall Street Journal
932:, June 22, 1953, p. 11.
930:The Wall Street Journal
914:The Wall Street Journal
898:The Wall Street Journal
706:Gate for Multiple Films
530:Pride of the Blue Grass
270:The Phantom of Santa Fe
212:The Discontented Canary
900:, April 2, 1952, p. 8.
465:Jack and the Beanstalk
190:in Fleischer Studios'
49:motion picture process
34:
842:Motion Picture Herald
771:Motion Picture Herald
367:'s costume adventure
206:(1934); two of MGM's
145:Cinecolor Corporation
22:
945:, May 5, 1954, p. 6.
594:List of film formats
315:The Enchanted Forest
257:using its two-color
204:Beauty and the Beast
414:battle of the Alamo
153:Burbank, California
961:2007-08-07 at the
795:Scott MacGillivray
471:Invaders From Mars
380:Northwest Stampede
176:Comicolor cartoons
35:
584:Color photography
551:The Diamond Queen
392:Republic Pictures
370:The Gallant Blade
288:Monogram Pictures
274:Wallace MacDonald
234:Popeye the Sailor
42:subtractive color
31:Fleischer Studios
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419:The Last Command
328:(1947) featured
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1026:History of film
1011:
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973:Further reading
970:
969:
963:Wayback Machine
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383:(1948) and its
325:Scared to Death
283:Isle of Destiny
250:Popular Science
216:The Old Pioneer
208:Happy Harmonies
200:Honeymoon Hotel
196:Merrie Melodies
192:Poor Cinderella
141:Cinecolor, Inc.
114:
90:duplitized film
71:
65:
26:Poor Cinderella
17:
12:
11:
5:
1049:
1039:
1038:
1033:
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994:External links
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985:Gene Fernett,
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757:Gene Fernett,
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681:New York Times
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553:, released by
525:Allied Artists
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448:SuperCinecolor
443:
442:SuperCinecolor
440:
427:
424:
404:Richard Wagner
237:cartoons; and
229:Famous Studios
113:
110:
108:) were muted.
75:orthochromatic
67:Main article:
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40:was an early
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980:Film History
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742:. Retrieved
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567:
562:
558:
555:Warner Bros.
550:
546:Eastmancolor
537:
535:
528:
521:
512:
507:Eastmancolor
492:
481:
480:(1954), and
475:
469:
463:
457:
451:
447:
445:
436:
429:
417:
407:
394:began using
390:
378:
373:(1948), and
368:
360:Gallant Bess
358:
343:
337:
334:
323:
313:
303:
298:Castle Films
291:
281:
269:
265:
263:
248:
242:
232:
224:Looney Tunes
222:
220:Warner Bros.
215:
211:
203:
199:
194:(1934); two
191:
168:Rudolf Ising
161:
157:
144:
140:
138:
115:
95:
87:
84:
79:panchromatic
72:
69:Bipack color
37:
36:
24:
820:, as above.
609:Technicolor
561:(1953) and
559:Shark River
351:featurettes
330:Bela Lugosi
239:Screen Gems
214:(1934) and
202:(1934) and
164:Hugh Harman
151:of land in
126:Kinemacolor
122:Kinemacolor
23:Scene from
1015:Categories
744:2023-12-03
620:References
599:Multicolor
563:Top Banana
542:Anscocolor
518:Last years
503:Kodachrome
495:Ansco/Agfa
483:Top Banana
412:; and the
409:Magic Fire
375:Eagle-Lion
320:Eddie Dean
261:process.
259:Magnacolor
244:Phantasies
227:; many of
210:cartoons,
198:cartoons,
188:Betty Boop
184:Pat Powers
174:; and the
134:Multicolor
98:dark green
57:Multicolor
29:(1934) by
866:Boxoffice
854:Boxoffice
533:(1954).
426:Expansion
385:Red Ryder
347:Hal Roach
278:RKO Radio
180:Ub Iwerks
46:two-color
38:Cinecolor
959:Archived
716:, 1930;
712:, 1930;
708:, 1930;
685:Carmania
614:Trucolor
573:See also
565:(1954).
474:(1953),
468:(1952),
462:(1952),
400:Trucolor
365:Columbia
363:(1946),
290:release
286:and the
280:release
887:toning.
738:Variety
720:, 1932.
143:(later
112:History
106:magenta
102:purples
44:-model
805:
604:Prizma
499:DuPont
308:, and
130:Prizma
100:) and
63:Method
53:Prizma
505:, or
149:acres
830:Time
803:ISBN
170:for
166:and
488:3-D
477:Gog
398:'s
396:CFI
377:'s
357:'s
355:MGM
332:.
178:by
172:MGM
1017::
921:^
905:^
797:,
736:.
725:^
527:'
501:,
497:,
490:.
416:,
406:,
241:'
965:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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