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109:, and being photographed through the red coating of the front film, records only the red-orange components of the picture. No filtering is necessary either for exterior or interior photography, as all necessary color corrections are made by adjusting the development of the two negatives during printing.
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After processing the two negatives, the red and cyan records were printed separately on a single strip of
Eastman or DuPont duplitized stock. Since the red negative was reversed in camera (that is, its emulsion away from the lens), there was no optical printing required to focus the image, and thus
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Color photography begins with any standard camera. Special magazines or adapters must be provided to accommodate two separate rolls of film. Two films are loaded, passing through the photographing aperture with the emulsions towards each other. The front film is
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Since the image must be focused on the plane of contact of the two negatives used, lenses and focusing screens used in bipack photography would be readjusted to throw the plane of focus .006" behind that of the standard black-and-white plane.
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devised a bipack color filming process – dubbed "Technichrome" – whereby hundreds of hours of film documented the
Olympics in color, without having to ship expensive and heavy Technicolor cameras to London.
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A diagram showing the configuration of the bipack color system in the camera. Note the red-dyed orthochromatic stock being used as a red filter in front of the panchromatic stock in bipack.
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by floating each side in a tank with the complementary colors (cyan for the side exposed with the red negative and vice versa) using toning chemicals or through dye mordanting.
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or the less well-known alternative three-color processes sometimes available outside the US. After 1950, when economical "monopack" color negative and print stocks such as
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Over the years, a great number of bipack color processors existed, largely due to the lack of holding patents on processing in this method. These systems included:
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were introduced, the use of bipack photography and printing rapidly declined. By 1955 all two-color motion picture processes were commercially extinct in the US.
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Care would be taken to avoid photographing objects of purple, lavender or pink coloring, as bipack color generally cannot reproduce these colors in printing.
35:, superimposed on one strip of film. The result is a multicolored projection print that reproduces a useful but limited range of color by the
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photography refers to two strips running through the camera at once, for the purpose of recording two different spectra of light, generally.
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cinematography available, used when color was wanted but the budget could not bear the much higher cost of three-strip
101:, to record the blue-green portion of the picture. On the surface of its emulsion is a red-dye layer equivalent to a
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and films were used in some early color processes for still photography, the field in which the concept originated.
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color system, which was shot as bipack color, but processed with special duplitized stock produced by the
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for motion pictures, two strips of black-and-white 35 mm film, running through the camera
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Bipack photography was, from about 1935 to 1950, the most economical means of 35 mm
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method. Bipack processes became commercially practical in the early 1910s when
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Bipack color refers to the type of camera load that is used for the effect.
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187:(1932–1954), the most popular bi-pack processor, an offshoot of Multicolor
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contact printing on both emulsions took place. Both sides were
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157:(1928-194?), by Consolidated Film, a direct offshoot of Prizma
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to emulsion, are used to record two regions of the color
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print stock, which facilitated making two-color prints.
31:, for the purpose of ultimately printing the images, in
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69:Bipack and three-element tripack sandwiches of
209:In addition, Consolidated Film also owned the
139:(1915), Eastman-Kodak's first color system
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217:company that carried a dye-coupler.
169:(1929–1932), a company financed by
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255:Timeline of Historical Film Colors
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196:Douglass Color (second process)
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1:
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323:Motion picture film formats
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10:
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293:List of color film systems
105:filter. The rear film is
318:Film and video technology
283:Color motion picture film
21:bipack color photography
268:Widescreen Museum entry
230:Technicolor Corporation
128:Bipack color processors
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16:Color process for film
181:DuPack Process (1932)
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298:List of film formats
222:1948 Summer Olympics
33:complementary colors
178:Sennettcolor (1930)
163:Harriscolor (1929)
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288:Color photography
205:Colorfilm process
175:Photocolor (1930)
160:Colorcraft (1929)
37:subtractive color
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45:duplitized film
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303:RG color space
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149:Brewster Color
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99:orthochromatic
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202:Cinefotocolor
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171:Howard Hughes
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52:natural color
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107:panchromatic
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77:How it works
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60:Eastmancolor
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151:(1913-193?)
145:(1918–1928)
103:Wratten 23A
64:Ansco Color
56:Technicolor
43:introduced
312:Categories
237:References
193:Kesdacolor
190:Polychrome
167:Multicolor
155:Magnacolor
137:Kodachrome
251:"Bi-pack"
185:Cinecolor
277:See also
220:For the
211:Trucolor
199:Dascolor
29:spectrum
25:emulsion
228:, the
226:London
215:DuPont
143:Prizma
91:Bipack
71:plates
122:toned
41:Kodak
62:and
224:in
19:In
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253:.
257:.
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