Color motion picture film refers both to unexposed color photographic film in a format suitable for use in a motion picture camera, and to finished motion picture film, ready for use in a projector, which bears images in color.
The first color cinematography was by means of additive color systems such as the one patented in England by Edward Raymond Turner in 1899 and tested in 1902. A simplified additive system was developed by George Albert Smith and successfully commercialized in 1909 as Kinemacolor. These early systems used black-and-white film to photograph and project two or more component images through different color filters.
With the present-day technology, there are two distinct processes: Eastman Color Negative 2 chemistry (camera negative stocks, duplicating interpositive and internegative stocks) and Eastman Color Positive 2 chemistry (positive prints for direct projection), usually abbreviated as ECN-2 and ECP-2. Fuji's products are compatible with ECN-2 and ECP-2.
Read more about Color Motion Picture Film: Overview, Tinting and Hand Coloring, Physics of Light and Color, Monopack Color Film, How Modern Color Film Works, Modern Manufacturers of Color Film For Motion Picture Use
Famous quotes containing the words color, motion, picture and/or film:
“Actors work and slave—and it is the color of your hair that can determine your fate in the end.”
—Helen Hayes (1900–1993)
“Speech belongs half to the speaker, half to the listener. The latter must prepare to receive it according to the motion it takes.”
—Michel de Montaigne (1533–1592)
“To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before, and which shall never be seen again.”
—Ralph Waldo Emerson (1803–1882)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)