In January thu March of 1986, the UCLA Film Archives presented an eleven-evening festival called "Technicolor - The Glory Years." Now, 38 years later, you can reproduce that festival on home video. The festival's line-up was as follows: *The Birth of Technicolor:* Several early attempts at color in film, followed by _The Toll of the Sea_ (1922) and _Redskin_ (1929). *2-Color Technicolor: Boom or Bust:* _Follow Thru_ (1930) and _Doctor X_ (1932). *From 2 Colors to 3:* Several shorts in both 2- and 3-strip Technicolor, followed by _Mystery of the Wax Museum_ (1933). *The First 3-Color Features:* _Becky Sharp_ (1935) and _The Trail of the Lonesome Pine_ (1936). *Technicolor Pioneers: Walt Disney:* Several Disney cartoon shorts, followed by _Snow White and the Seven Dwarfs_ (1937). *Technicolor Pioneers: David O. Selznick & Samuel Goldwyn:* _The Garden of Allah_ (1936) and _The Goldwyn Follies_ (1938). *Technicolor Comes of Age:* _The Private Lives of Elizabeth and Essex_ (1939) and _The Adventures of Robin Hood_ (1938). *A Great Cameraman: Leon Shamroy:* _The Black Swan_ (1942) and _Leave Her to Heaven_ (1945). *Technicolor in Britain:* _Henry V_ (1945) and _Black Narcissus_ (1947). *Postwar Experiments in Technicolor: John Huston & Oswald Morris:* _Moulin Rouge_ (1951) and _Moby Dick_ (1956). *Postwar Experiments in Technicolor: Alfred Hitchcock:* _Rope_ (1948) and _Vertigo_ (1958). Take note: _The Toll of the Sea_ and _Redskin_ are in box sets that are now out of print. _Follow Thru_ has never been officially released on disc, but has been widely bootlegged. _Henry V_ and _Moulin Rouge_ are available on blu-ray in England but only on DVD in the United States. Almost all of the other films have been released on blu-ray, while _Vertigo_ has been released in a 4K edition. If I _may_ make some suggestions, I could offer a very worthy substitute for _Follow Thru_ with _King of Jazz_ (1930). Meanwhile, _The Goldwyn Follies_ is a terrible movie! I'd substitute it with Goldwyn's _Kid Millions_ (1934). Only the final sequence of this film is in Technicolor, but overall it's a fun movie. Happy viewing!

I loved this documentary but I can't believe that this would be posted with The Wizard of Oz in the wrong aspect ratio.

@davidhunt240

4 жыл бұрын

They worry people will be scared of the black borders on a widescreen display...

@santosturmio8189

Жыл бұрын

True lol that's a sin 🤣

The second segment of The Wizard of Oz at 2:18 almost looks like Nitrate IB (maybe it's the 4k UHD Blu-ray restoration. But as mentioned, incorrect aspect ratio.

To celebrate 100 years of Technicolor, sounds like they also decided to use a 100 year old microphone to record the audio for this documentary.

APPLAUSE , TO ALL WHO CREATED THE COLOUR IN MOVIES !!!! SO THOSE CINEMA FANS CAN ENJOY FILMS IN COLOUR !! THANKS ! FROM U.K. (2021).

Great documentary. Thought I'd mention you have frame dominance issue in the clip though which you might want to fix up.

enjoyed!

This seems to be more of a commercial for the book than an actual documentary.

@jknuttel

Жыл бұрын

Maybe so. However, it's an excellent book!

Even if they can't exactly reproduce Technicolor, they can at least scan IB negatives and prints and digitize them for future use, or even use them as reference for future restoration projects. And I can't imagine many IB Tech films are faded that much; one of the things that Technicolor is known for is being extremely stable and having virtually no fading with proper care. Heck, the colors could probably survive a nuclear war, along with cockroaches and Twinkies.

@CUTproductionsLtd

Жыл бұрын

I have never seen any totally effective digital reproduction/re-creation of the Technicolor imbibition process, largely because it is a subtractive one, whereas most all forms of digital compositing are still 'additive. I am a professional grader for TV and Film and have access to most of the current high level professional industry tools. I have done many experiments, breaking down a colour image into 3 'matrices' and then recombining them, either in RGB or their complimentary colours, as a digital 'analogue' to the original process - nothing I have yet seen from my own efforts or others is convincing, but possibly someone out there is doing it. The richness of the original colours, ultimately I suspect comes from the non-photographic physical dyes. Technicolor obviously developed a technique to take tri-pack EastmanColor and process it for imbibition printing. Which I imagine involved optical photography of each colour, through coloured filters, on black and white stock, to produce the 3 matrices. And so they were able to retain the richness of the colour process organically. This is ultimately the reason why it is mentioned in the documentary that film still presents the best archival medium, as opposed to digital, for this material.

@hotwax9376

Жыл бұрын

@@CUTproductionsLtd Just out of curiosity, what is the difference between film processing and film printing?

@CUTproductionsLtd

Жыл бұрын

@@hotwax9376 Film printing is either contact, i.e. original and raw stock sandwiched together or optical printing, e.g. copying 16mm to 35mm, thereby optically blowing up the smaller gauge. Processing is merely the development of the raw exposed negative or reversal film.

@hotwax9376

Жыл бұрын

@@CUTproductionsLtd OK, does this explain the difference between a "Color by Technicolor" credit and a "Prints by Technicolor" credit on post-1955 films after the three strip process was discontinued?

@CUTproductionsLtd

Жыл бұрын

@@hotwax9376 Not really - pre 1955 'Color by', are films shot on the 3 strip Camera and complete Technicolor process. Post 1955, 'Prints by', is where only the imbibition process was used, for printing. The films were shot on a single strip of Eastmancolor negative, in a conventional camera.

Interesting information. But who edited this? Who decided to squash the 4:3 image of Oz to a squished scope? And why use interlaced video? Was the combing a desired effect?

@davidhunt240

4 жыл бұрын

Yes, that is insane given this documentary is supposed to be about the 100 years of Technicolor, they should have tried harder to get the proper scans of the movie. Interlaced formats should be a thing of the past now, they were invented to cope with the very low bandwidth available in 1950s television systems, there's no place for interlacing today.

Is Jared Case wearing mascara ?

If Dye Tranfer prints fade little, why can't they just restore from Dye Tranfer Prints?

That guy looks like if he was related to Andy Warhol

Potentially fascinating topic presented by four of the most boring voices ever recorded. Yawn!

@wakkowarner8810

13 күн бұрын

Welcome to academic research.