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Lets Talk Technicolor: 2-Strip, 3-Strip, Everyone Strip Technicolor threads have been started and died a quick death around here, which is surprising given most of our ages But doesn't the Golden Age (1934-1955) of Three-strip Technicolor really turn you on, or does it look garish? Here's one from The Private Lives of Elizabeth and Essex (1939)
Star Wars in Technicolor IB | BFI - Steve Hoffman Music Forums In our latest Inside the Archive video we go far, far away - all the way back to 1977 - to examine an original IB Technicolor dye-transfer print of Star Wars (Dir George Lucas, 1977), held in the BFI National Archive's collections
Best looking three strip Technicolor film on blu-ray Again, not a 3 strip Technicolor movie It looks stunning because of the extra clarity of the Vistavision process (twice the film area), and probably the release prints were done by Technicolor, but the film itself was shot on "conventional" modern Eastman color negative, and not on three separate B W negatives (which is what 3-strip consisted in)
Do you like movies shot in technicolour? - Steve Hoffman Music Forums For the vast part of the last 40 years, Technicolor was just a big film processing lab with worldwide branches in NY, Burbank, London, Vancouver, Toronto, Tokyo, Rome, and many other cities They handled both Kodak and Fuji film, and could print on whatever kind of stock you wanted "Technicolor" was just a brand name
What TV shows suffered in the switch from black and white to color . . . Technicolor became just another film laboratory Their TV projects were required to say "Color by Technicolor" in the closing credits, but it wasn't shot in Technicolor per se, nor did they use Technicolor IB prints Technicolor has also had a digital arm in LA, NY, London, and other cities where they do lots of post-production work for TV and
Are Technicolor and Deluxe still relevant? - Steve Hoffman Music Forums Technicolor sorta kinda exists in digital filmmaking today, in three ways: 1) Technicolor still exists as a post-production facility, though all their labs in North America are now closed; 2) filmmakers sometimes want a very vivid, old-school "Technicolor look," which we can do electronically simply by punching up the saturation levels; and 3
Films with the Movielab or Metrocolor process Note that Technicolor, CFI, Metrocolor, and Movielab all used similar lab practices and Kodak stock, so there was no real technical difference between the work they did There were studios that would shoot on Kodak negative stock but print on Fuji film in order to save a few cents