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:
“... it is not the color of the skin that makes the man or the woman, but the principle formed in the soul. Brilliant wit will shine, come from whence it will; and genius and talent will not hide the brightness of its lustre.”
—Maria Stewart (1803–1879)
“It is the fixed that horrifies us, the fixed that assails us with the tremendous force of mindlessness. The fixed is a Mason jar, and we can’t beat it open. ...The fixed is a world without fire--dead flint, dead tinder, and nowhere a spark. It is motion without direction, force without power, the aimless procession of caterpillars round the rim of a vase, and I hate it because at any moment I myself might step to that charmed and glistening thread.”
—Annie Dillard (b. 1945)
“The difference between human vision and the image perceived by the faceted eye of an insect may be compared with the difference between a half-tone block made with the very finest screen and the corresponding picture as represented by the very coarse screening used in common newspaper pictorial reproduction. The same comparison holds good between the way Gogol saw things and the way average readers and average writers see things.”
—Vladimir Nabokov (1899–1977)
“Film music should have the same relationship to the film drama that somebody’s piano playing in my living room has to the book I am reading.”
—Igor Stravinsky (1882–1971)