Using extensive research and interviews with many of the surviving Technicolor technicians, the history of dye printing and the events leading to its demise are fully covered The Beijing Film Laboratory is the only facility currently using the process Included are diagrams of how the process worked and an extensive listing of U.S feature films printed with it....
|Title||:||Technicolor Movies: The History of Dye Transfer Printing|
|Publisher||:||McFarland Publishing November 1, 1993|
|Number of Pages||:||168 pages|
|File Size||:||893 KB|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Technicolor Movies: The History of Dye Transfer Printing Reviews
Indispensable book for who is interested in the history of the technicolor process development (and probably more reliable than "Glorious Technicolor" which is riddled with a few mistakes)
Sometimes a little too detailed, gets bogged down in the technical aspects, but overall an interesting read.
One of the reviewers above compared Technicolor to Spielberg's Minority Report (originated on Eastmancolor stock) unfavourably. But Minority Report, like many contemporary films, was deliberately desaturated and so the blame doesn't lie with the choice of film stock so much as in the director's choice. He wanted a world drained of color to give an impression of a bleak future. As well, many Technicolor films of the 40s and 50s were just as deliberately over-saturated, in part because Technicolor insisted that their own color consultants be on the film set, and that saturated look was felt by them to be good advertising for their product. Different eras; different artistic choices. When color is rare, you want it to really pop; when it's commonplace, you can do different and sometimes more interesting things with it.
This is a very complex book with a lot of technical information, some of which I didn't understand. However, I did get the overall gist of the writer's arguement which is the Technicolor process was vastly superior to the Eastmancolor process that replaced it. I've seen some 16mm film collector prints in Technicolor which were gorgeous. One of them was "The Adventures of Robin Hood" which was beautiful. Rich and vibrant...it took my breath away. I also saw 16mm Technicolor prints of "North by Northwest" and "Singin' in the Rain" which were spectacular. Boy do I love Technicolor. You can actually buy these prints on ebay if you have a lot of money.
The author correctly points out the weaknesses of the Eastmancolor process and gives support to the superiority of dye transfer processed films. Mr. Haines has an excellent eye for color, and he lists a complete history of films using three strip technicolor and dye transfer matrices. He is not afraid to attack the studios and Kodak's short sightedness in dumping the process. As a result, film negatives are fading fast, and many films are losing their original look. He does list one chinese company that still uses the process, and I hope that they are still in business. Sadly films will never look as good again. END
One of the central facts presented is that Technicolor is like no other motion picture color process. And that it has been nearly abandoned in the USA in favor more efficient processes, none of which are as good as Technicolor.