31:
445:, 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.
525:
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.
170:
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.
524:
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
520:
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
579:
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
351:
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
169:
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
448:
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
559:
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
533:
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
311:
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.
346:
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).
897:
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
355:
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
307:-- 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
398:
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.
92:
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.
103:
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.
96:
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.
580:
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.
521:
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.
70:
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.
433:). 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.
364:
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
150:
After leaving Multicolor, Crespinel co-founded the Colorfilm Corporation of California in 1932. By May 1932, the name of the company was changed to
173:
Before 1945, Cinecolor was used almost exclusively for short subjects. From 1932 to 1935, at least 22 cartoons were filmed in Cinecolor, including
107:
Cinecolor could produce vibrant reds, oranges, blues, browns and flesh tones, but its renderings of other colors such as bright greens (rendered
17:
1046:
229:(1934); and the Iwerks fairytale cartoons that began in November 1933. Cartoon producers returned to Cinecolor in the late 1940s: the
158:). William Loss, a director of the Citizens Traction Company in New York, was its principal investor. The company bought four
469:
1041:
540:
535:
1031:
475:
817:
547:
Donner Corporation, a private investment organization, acquired Cinecolor Corp. in June 1952. In 1953, it became the
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from the end of 1946 for a variety of films ranging from Westerns and travelogues to major productions (the life of
707:
World War I Draft Registration Cards, 1917–1918, State of New Jersey, County of Bergen, Draft Board 3, 5 June 1917.
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316:
244:
969:
481:
260:
429:
406:
265:
667:
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 102-106.
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361:
335:
99:
In the laboratory, the negatives were developed and the orange-red dye removed. The prints were made on
599:
303:
589:
463:
59:
30:
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643:
Crespinel, William T. (1933): As to Cinecolor. In: American Cinematographer, 14, pp. 355, 380-381.
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128:
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SuperCinecolor used black-and-white separations produced from monopack color negatives made with
84:
As a bipack color process, the photographer loaded a standard camera with two film stocks: an
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8:
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365:
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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
805:
390:
288:
186:
143:, another color film company, founded by William Van Doren Kelley. He later worked for
329:, was the studio's highest-grossing film, and PRC's series of Cinecolor westerns with
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380:
375:
357:
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284:
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The first feature-length pictures released in Cinecolor were the documentary feature
52:
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were Cinecolor's chief contractors in the mid-1940s. A 1945 PRC Cinecolor release,
178:
174:
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218:
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100:
36:
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of 1947-1949. Cinecolor was also prominently employed in processing Paramount's
414:
239:
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for its processing plant. Crespinel retired as president of Cinecolor in 1948.
127:
The Cinecolor process was invented in 1932 by the English-born cinematographer
85:
56:
728:
724:
720:
716:
1025:
442:
867:, "Color Films to 70% Soon, Joseph Bernhard Predicts," April 24, 1948, p.20.
888:
Original separations for "Abbott and Costello Meet Captain Kidd" (WB, 1952)
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517:
370:
308:
234:
230:
89:
79:
283:(1936, but filmed in Multicolor in 1931 and starring Multicolor executive
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340:
249:
136:
132:
907:"Cinecolor Corp. Plans To Lay Off 'Substantial' Personnel Temporarily",
784:, "Increased Use of Color Seen for 1940-41 Season", Aug. 3, 1940, p. 44.
352:
cost of printing, which made Cinecolor an even more attractive option.
609:
513:
487:
419:
287:). A short-term burst of feature-film activity in 1939 -- yielding the
269:
254:
198:
144:
108:
67:
796:, "Cinecolor Now Rated as a Formidable Factor", September 1946, p. 32.
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and patented several inventions in the field of color cinematography.
1018:
with many written resources and many photographs of Cinecolor prints.
966:
457:
Cinecolor's Alan Gundelfinger developed a three-color process called
395:
190:
721:
Method and Apparatus for Placing Sound Records in Color Photography
624:
498:
410:
139:'s American unit. After that company folded in 1916, he worked for
879:, "New Sensitized Film Cuts Lighting Costs," July 17, 1948, p. 43.
264:
series of live-action shorts, although later prints were made by
116:
467:. Other films of note that used the SuperCinecolor process were
614:
509:
140:
112:
63:
135:
Corporation in 1906 and went to New York in 1913 to work with
552:
441:
In October 1947 Cinecolor bought a film production company,
505:
159:
669:
https://filmcolors.org/timeline-entry/1297/#/infobox/37342
657:
https://filmcolors.org/timeline-entry/1297/#/infobox/37341
645:
https://filmcolors.org/timeline-entry/1297/#/infobox/37340
551:, specialized in SuperCinecolor printing, and was a major
952:"Donner Corp. Sells Interest In Color Corp. of America",
855:, "Cinecolor Takes Film Classics," Oct. 18, 1947, p. 20.
449:
Cinecolor to only 10 percent more than black and white.
333:
attracted attention among exhibitors. Screen Guild's
694:, June 24, 1987, p. B10. Passenger list of the S.S.
461:
in 1948. but did not begin using it until 1951 with
1011:
Cinecolor History at The American Widescreen Museum
690:"William Crespinel, 96; Pioneer in Color Films",
1023:
843:, "Movies: Profit Through Loss", Sept. 23, 1946.
497:(1954). The latter two were both also filmed in
44:, an animated short which makes use of Cinecolor
1016:Cinecolor on Timeline of Historical Film Colors
935:
933:
919:
917:
729:Colored Photograph and Method of Making Same
698:, Port of New York, 3 February 1913, p. 16.
315:Lower-budgeted companies such as Monogram,
1000:(Coral Reef Publications, 1973), pp 15-19.
930:
914:
772:(Coral Reef Publications, 1973), pp 15-19.
725:Method of Producing Films in Natural Color
279:(1934) and the independently made western
29:
14:
1024:
66:system of the 1910s and 1920s and the
27:Early two-color motion picture process
470:Abbott and Costello Meet Captain Kidd
739:
737:
24:
983:
197:. Notable Cinecolor cartoons were
25:
1058:
1047:Audiovisual introductions in 1932
1004:
998:Hollywood's Poverty Row 1930-1950
770:Hollywood's Poverty Row 1930-1950
734:
452:
810:Castle Films: A Hobbyist's Guide
965:California Secretary of State,
959:
946:
901:
891:
882:
870:
858:
846:
834:
822:
799:
787:
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317:Producers Releasing Corporation
762:
710:
701:
684:
673:
661:
649:
637:
360:, who made all of his postwar
193:, for independent distributor
13:
1:
758:– via Internet Archive.
630:
528:
549:Color Corporation of America
436:
266:Consolidated Film Industries
131:(1890–1987), who joined the
88:strip dyed orange-red and a
18:Color Corporation of America
7:
1042:Motion picture film formats
829:International Projectionist
812:, iUniverse, 2004, p. 203.
794:International Projectionist
680:Social Security Death Index
583:
349:International Projectionist
277:Sweden, Land of the Vikings
10:
1063:
989:John Belton, "Cinecolor,"
967:California Business Portal
600:List of color film systems
304:The Gentleman from Arizona
122:
77:
1032:Film and video technology
993:12:4 (2000), pp. 344-357.
939:"Abreast of the Market",
927:, August 26, 1955, p. 15.
923:"Abreast of the Market",
590:Color motion picture film
464:The Sword of Monte Cristo
115:(rendered a sort of dark
73:
751:. 1932-05-03. p. 21
745:"Cinecolor Materializes"
555:processor. It also made
321:Screen Guild Productions
129:William Thomas Crespinel
62:that was based upon the
954:The Wall Street Journal
943:, June 22, 1953, p. 11.
941:The Wall Street Journal
925:The Wall Street Journal
909:The Wall Street Journal
717:Gate for Multiple Films
541:Pride of the Blue Grass
281:The Phantom of Santa Fe
223:The Discontented Canary
911:, April 2, 1952, p. 8.
476:Jack and the Beanstalk
201:in Fleischer Studios'
60:motion picture process
45:
853:Motion Picture Herald
782:Motion Picture Herald
378:'s costume adventure
217:(1934); two of MGM's
156:Cinecolor Corporation
33:
956:, May 5, 1954, p. 6.
605:List of film formats
326:The Enchanted Forest
268:using its two-color
215:Beauty and the Beast
425:battle of the Alamo
164:Burbank, California
972:2007-08-07 at the
806:Scott MacGillivray
482:Invaders From Mars
391:Northwest Stampede
187:Comicolor cartoons
46:
595:Color photography
562:The Diamond Queen
403:Republic Pictures
381:The Gallant Blade
299:Monogram Pictures
285:Wallace MacDonald
245:Popeye the Sailor
53:subtractive color
42:Fleischer Studios
16:(Redirected from
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339:(1947) featured
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1037:History of film
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984:Further reading
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974:Wayback Machine
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394:(1948) and its
336:Scared to Death
294:Isle of Destiny
261:Popular Science
227:The Old Pioneer
219:Happy Harmonies
211:Honeymoon Hotel
207:Merrie Melodies
203:Poor Cinderella
152:Cinecolor, Inc.
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101:duplitized film
82:
76:
37:Poor Cinderella
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459:SuperCinecolor
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453:SuperCinecolor
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438:
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415:Richard Wagner
248:cartoons; and
240:Famous Studios
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119:) were muted.
86:orthochromatic
78:Main article:
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566:Warner Bros.
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557:Eastmancolor
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518:Eastmancolor
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492:
491:(1954), and
486:
480:
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462:
458:
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447:
440:
428:
418:
405:began using
401:
389:
384:(1948), and
379:
371:Gallant Bess
369:
354:
348:
345:
334:
324:
314:
309:Castle Films
302:
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259:
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243:
235:Looney Tunes
233:
231:Warner Bros.
226:
222:
214:
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205:(1934); two
202:
179:Rudolf Ising
172:
168:
155:
151:
149:
126:
106:
98:
95:
90:panchromatic
83:
80:Bipack color
48:
47:
35:
831:, as above.
620:Technicolor
572:(1953) and
570:Shark River
362:featurettes
341:Bela Lugosi
250:Screen Gems
225:(1934) and
213:(1934) and
175:Hugh Harman
162:of land in
137:Kinemacolor
133:Kinemacolor
34:Scene from
1026:Categories
755:2023-12-03
631:References
610:Multicolor
574:Top Banana
553:Anscocolor
529:Last years
514:Kodachrome
506:Ansco/Agfa
494:Top Banana
423:; and the
420:Magic Fire
386:Eagle-Lion
331:Eddie Dean
272:process.
270:Magnacolor
255:Phantasies
238:; many of
221:cartoons,
209:cartoons,
199:Betty Boop
195:Pat Powers
185:; and the
145:Multicolor
109:dark green
68:Multicolor
40:(1934) by
877:Boxoffice
865:Boxoffice
544:(1954).
437:Expansion
396:Red Ryder
358:Hal Roach
289:RKO Radio
191:Ub Iwerks
57:two-color
49:Cinecolor
970:Archived
727:, 1930;
723:, 1930;
719:, 1930;
696:Carmania
625:Trucolor
584:See also
576:(1954).
485:(1953),
479:(1952),
473:(1952),
411:Trucolor
376:Columbia
374:(1946),
301:release
297:and the
291:release
898:toning.
749:Variety
731:, 1932.
154:(later
123:History
117:magenta
113:purples
55:-model
816:
615:Prizma
510:DuPont
319:, and
141:Prizma
111:) and
74:Method
64:Prizma
516:, or
160:acres
841:Time
814:ISBN
181:for
177:and
499:3-D
488:Gog
409:'s
407:CFI
388:'s
368:'s
366:MGM
343:.
189:by
183:MGM
1028::
932:^
916:^
808:,
747:.
736:^
538:'
512:,
508:,
501:.
427:,
417:,
252:'
976:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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