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anything approaching a true green in any of the subjects so far exhibited, although this is probably by reason of the fact that no prominent greens existed in the subjects photographed. Yellow is not in evidence in the current Prizma films, although a wide variety of warm tones are apparent, ranging from chestnut-brown to a deep red-orange. Colors in full saturation are hardly within the scope of this process.
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The first commercial system of Prizma was similar to
Kinemacolor in that the camera took alternating frames of red-orange and blue-green colors through color filters placed within the camera's shutter. Projection involved running a colored disc again in synchronization with the black and white color
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On 28 December 1918, Kelley announced that Prizma would release a color film (usually a short) every week, a film which would be projectable on any standard projector. Kelley's idea was two years in the making, but was a valid one which became the springboard for all future color systems to follow —
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The results by this process are characterized by extreme delicacy of color, and subdued shades are most admirably rendered.… The blue-green element of the projecting filter appears to favor the blue rather than the green, and as a result, skies and water are well reproduced. We have not noticed
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film in the camera. The colors were red, yellow, green, and blue, with overlapping wavelengths to prevent pulsating effects on the screen with vivid colors. The film was photographed at 26 to 32 frames per second, and projected at 32 frame/s. The disk used in projection consisted mainly of two
210:, premiered in April 1922 to lukewarm success in the US, but much appeal in the UK. With the prestige of a Vitagraph production, Prizma was considered the apex of color photography at that point in motion picture producers' minds.
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on 23 December 1917. General reception to the system was positive, but the rotating filter wheel technique proved impractical. To counteract the issue of having a special projector with a filter wheel, Kelley began
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alternate frames of his film red and green. However, fringeing, flicker, and light loss were major issues which plagued not only Prizma, but also all of the other additive systems of the
Kinemacolor nature.
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purposes. As his camera took side-by-side pictures, Kelley mounted a set of prisms on his rig, thus expanding his point of convergence, and utilized his red/blue color system to make an
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was premiered at Roxy's
Capitol Theatre in New York. The four-reel feature garnered lukewarm reviews, but enough positive audience response that more films were produced in the system.
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in nature — no flicker and a bright projection. But as a result of the way the camera was designed, a constant fringe was apparent, as the strips were being recorded side-by-side.
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photography. Although the short was technically shot better, Riesenfeld rejected it because it did not have the 3D gimmicks that the recent films of that nature included.
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Prizma gave a demonstration of color motion pictures in 1917 that used an additive four-color process, using a disk of four filters acting on a single strip of
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442:, which benefited from Kelley's advanced printing techniques. Ironically, Cinecolor was co-founded by Kelley's former photographer, William T. Crispinel.
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in the spring of 1923. The film was not shot with the Prizma rig — which was being used by
Flaherty in Samoa — but with one designed by
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two films were filmed simultaneously with a camera of his own design. One strip was sensitive to red-orange, the other to blue-green (
124:
In counteracting this, Kelley had filed a patent in
February 1917 which proved to be the foundation of Prizma's second color system.
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in
September 1922 on the grounds that Technicolor was infringing upon Prizma's patents. However, Prizma eventually lost the case.
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colors, red-orange and blue-green, adapted to the four-color process by the superimposition of two small
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In
January 1919, this new process was premiered at the Rivoli Theatre in New York City with the short
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filters over one of the red sectors and two similar blue filters over one of the blue-green sectors.
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1119:, filed 1914. The patent describes systems using two-color or three-color filter wheels.broken link
42:, invented in 1913 by William Van Doren Kelley and Charles Raleigh. Initially, it was a two-color
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303:, which was premiered at the Rivoli on 24 December 1922. The film consisted largely of shots of
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326:, Kelley had his chief photographer, William T. Crispinel, shoot another short film entitled
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237:(1925) in that process, but the Prizma camera malfunctioned and no color footage was shot. (
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system that itself became the predecessor for future color processes such as
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This article is about the film process. For the
Latvian ice hockey team, see
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utilized the process in a couple of his films, including a scene in
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William Van Doren Kelley and his invention, the Prizma color camera.
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took both a black-and-white camera and a Prizma color camera to
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415:, where Prizma was used for one reel of a 55-minute film.
402:, were all UK productions with one reel filmed in Prizma.
170:, was a friend of the Rivoli's manager and music director
50:. However, Kelley eventually transformed Prizma into a
178:'s Roxy Theaters chain, which the Rivoli was part of.
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The last few years of Prizma were somewhat fruitful.
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The first film shown in Prizma color was the feature
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became famous as the second feature film shot using
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143:). Both negatives were processed and printed on
1117:Method of Producing Colored Photographic Images
188:The Prizma process only took off in 1922, when
1111:List of Prizma films at the IMDb (incomplete)
691:Ice Fields, Glaciers, and the Birth of Bergs
1084:"The Prizma Process of Color Photography",
127:
25:
405:One of the last films using Prizma was
181:In February 1921, another Prizma film,
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1124:Film or the Like for Color Photography
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287:, Kelley used his Prizma camera for
328:Through the Trees — Washington D.C.
275:and the December 1922 unveiling of
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1104:Timeline of Historical Film Colors
1029:List of motion picture film stocks
446:List of films made in Prizma Color
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1140:Audiovisual introductions in 1913
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1014:List of early color feature films
245:black-and-white film rather than
945:(1924) final film made in Prizma
873:A Prizma Color Visit to Catalina
1062:(1917), vol. 11, pp. 1933–1934.
334:, a technician specializing in
271:, opening 27 September 1922 in
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426:In 1928, Prizma was bought by
202:in Prizma. The film, starring
111:at the 44th Street Theatre in
46:, similar to its predecessor,
1:
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891:The Sacred City of the Desert
228:, hoping to film part of his
147:, and then each emulsion was
739:The Land of the Great Spirit
733:Kilauea-The Hawaiian Volcano
428:Consolidated Film Industries
40:color motion picture process
16:Color motion picture process
7:
1155:Motion picture film formats
1058:Louis Derr, "Photography",
996:
959:(France, 1924) directed by
867:Pinto's Prizma Comedy Revue
677:The Heritage of the Red Man
525:Children of the Netherlands
453:An Afternoon With Nanki San
313:the New York Public Library
297:Kelley's Plasticon Pictures
10:
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1019:List of color film systems
787:The Message of the Flowers
653:Heart of the Sky Mountains
593:From the Land of the Incas
341:
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1145:Film and video technology
1004:Color motion picture film
174:and so did business with
98:record film, and through
1126:, filed 1914.broken link
727:Japanese Fishing Village
543:The Cost of Carelessness
430:and was reintroduced as
322:Based on the success of
1075:(1917), vol. 10, p. 90.
942:Venus of the South Seas
408:Venus of the South Seas
215:Technicolor Corporation
168:Jersey City, New Jersey
128:Prizma II (subtractive)
921:Swaziland South Africa
879:The Refreshing Riviera
635:Hagopian the Rug Maker
629:Edith Varian Cockcroft
625:Gowns Venus Would Envy
618:The Glorious Adventure
567:Everywhere With Prizma
356:(1923) in Prizma, and
261:and Robert F. Elder's
199:The Glorious Adventure
196:shot his feature film
164:Everywhere With Prizma
31:
927:Teddy in Glacier Land
100:persistence of vision
44:additive color system
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1024:List of film formats
957:La Voix du Rossignol
419:was restored by the
398:(1923), co-starring
388:(1923), directed by
372:(1922), directed by
324:Movies of the Future
301:Movies of the Future
176:Samuel Roxy Rothafel
1101:Prizma I and II on
1086:Motion Picture News
1071:"The Prizma Film",
983:Where Poppies Bloom
970:(1920) directed by
849:Our Invincible Navy
831:Oases of the Sahara
599:Gardens of Normandy
513:Catalonian Pyrenees
421:Library of Congress
166:. Kelley, based in
153:complementary color
93:Prizma I (additive)
81:Motion Picture News
1073:The Edison Monthly
1060:Chemical Abstracts
961:Ladislas Starevich
915:Sunshine Gatherers
751:A Little Love Nest
501:Canoe and Campfire
400:Lillian Hall-Davis
390:J. Stuart Blackton
190:J. Stuart Blackton
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1009:Color photography
903:So This Is London
861:Picturesque Japan
665:Heidi of the Alps
580:Flames of Passion
537:Color-Land Review
471:Bali, the Unknown
465:Artist's Paradise
413:Annette Kellerman
411:(1924), starring
369:Flames of Passion
268:The Power of Love
194:Vitagraph Studios
183:Bali, the Unknown
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1088:(1917), p. 1890.
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950:The Virgin Queen
811:Moonlight Sonata
793:Mining in Alaska
715:An Indian Summer
647:Hawaiian Islands
477:Beautiful Things
386:The Virgin Queen
332:Frederic E. Ives
293:anaglyphic print
259:Harry K. Fairall
230:documentary film
213:Prizma sued the
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555:Danse du Ventre
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382:C. Aubrey Smith
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277:Laurens Hammond
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253:Work in 3D film
222:Robert Flaherty
220:In April 1923,
208:Victor McLaglen
172:Hugo Riesenfeld
145:duplitized film
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309:Times Square
307:, including
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72:panchromatic
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66:Experimental
36:Prizma Color
35:
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1034:Technicolor
934:Vanity Fair
805:Model Girls
684:I Pagliacci
627:, starring
549:Danse Arabe
495:Butterflies
483:Bird Island
434:(and later
395:I Pagliacci
353:Vanity Fair
273:Los Angeles
157:subtractive
83:reported,
48:Kinemacolor
1134:Categories
1046:References
953:(UK, 1923)
799:The Mirror
763:Magic Gems
687:(UK, 1923)
621:(UK, 1922)
583:(UK, 1922)
432:Magnacolor
283:system in
56:Multicolor
703:In Nippon
440:Cinecolor
423:in 2004.
378:Mae Marsh
350:produced
317:Luna Park
299:entitled
265:feature,
60:Cinecolor
997:See also
909:Sunbeams
851:) (1918)
845:Our Navy
781:Memories
775:May Days
697:The Impi
667:) (1920)
507:Capetown
436:Trucolor
366:(1920).
281:Teleview
108:Our Navy
561:Dawning
342:Decline
118:tinting
77:magenta
991:(1922)
985:(1923)
979:(1920)
937:(1923)
929:(1922)
923:(1920)
917:(1921)
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885:Rheims
881:(1920)
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641:Hawaii
637:(1920)
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392:; and
315:, and
721:Japan
660:Heidi
519:China
417:Venus
257:With
239:Moana
234:Moana
226:Samoa
149:toned
824:Oahu
380:and
206:and
151:its
141:cyan
58:and
34:The
279:'s
249:.)
192:of
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336:3D
319:.
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263:3D
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