The History of Color Photography Joesph S Friedman, PhD The American Publishing Company, Boston 1945 Page 214,

THE LENTICULAR PROCESS

In this chapter we turn our attention to one of the simplest and most elegant of all the proposals for the making of color reproductions. This is the lenticularprocess, which requires no special camera or special processing technique,except that a special type of film has molded on its back a series of lenticularelements which divide the surface into a honeycomb structure. For a longtime after the idea was first proposed, nothing was done with it. But later itbecame extremely popular, and for atime it was thought that this schemesolved all problems of motion pictures in color. Some idea regarding the positionwhich lenticular film held in the industry may be obtained from the fact that fully one-third of the patents dealing with color reproduction ithe decade 1925-1935, dealt in one way another

Colour Cinematography Adrian Cornwell-Clyne Third Edition 1951 Chapman and Hall p319

THE KODACOLOR PROCESS' Kodacolor is a three-colour additive process which realizes the principle of a line screen method without the added difficulty of ruling a screen on the film support. The process is based on a means of impressing a series of microscopic cylindrical lenses into and across the support side of panchromatic film (Figs. 179, 182). A banded three-colour filter is fitted into a holder in front of the lens of the camera and projector. The film is threaded in the camera with the emulsion side away from the lens so that the light, before it reaches the sensitive emulsion, must be transmitted by the tiny embossed lenses, each one of which thus images the bands of the colour filter on the film. If the subject is white, all three colour filters allow light to pass and three lines are exposed under each lens element. If the subject is red, that is if it reflects red light, only the red parts of the filter transmit the light, and the emulsion areas illuminated by this section of the filter will be exposed. With colours that are made up of more than one primary it follows that more than one part of the tricolour filter will transmit the light. Perhaps this may be made a little clearer if only one lens element and one colour of light, say blue, is considered as shown in Fig. 180. Here it is seen that the blue' light exposes an area about one-third that under the lens element (No. 1). On development this area becomes opaque (No. 2). The film is then bleached, and the remaining silver salts are given a controlled exposure (No. 3) and developed up. Now the area affected by the blue light becomes clear and transparent, while the area corresponding to the red and green filter segments is opaque (No. 4). When white light is directed on this single lens section, it passes through the area where the blue light exposed the film; and since the optical system is reversible, it follows that the light will strike the blue segment of the filter and form a blue spot on the screen, since no light reaches either the green or red filter segments. In other words, all the tiny line areas transmit all, part, or no light, according as the subject reflects all, part, or none of the corresponding coloured light. The various colours are recombined on the screen to reproduce the natural colours of the subject photo-graphed.
1 The name " Kodacolor " was originally applied to the 16 mm. lenticular process as commercially exploited by Eastman Kodak. The lenticular process is now extinct, and the name was adopted for the negative multilayer roll-film.
319

16mm Black and White Reversal Kodacolor Film and a frame showing colour

Note the KODACOLOR edge print.

For more information see SMPE Journal Vol 12 Trans 36 1928 P940 Kodacolor Process for Amateur Cinematography J G Capstaff and M W Seymour

 

A History of Motion Picture Color Technology Roderick T Ryan The Focal Press London and New York 1977 P51

KELLER—DORIAN COLOR

The Keller—Dorian system of color cinematography was a three-color additive system based on the 1909 invention of Rudolph Berthon. This process used a banded three-color filter to expose black and white film through an embossed lenticular base. The first commercial use of the Keller—Dorian system was the Kodacolor process introduced in 1928. The Eastman 16 mm Kodacolor lenticular film was manufactured under the Keller—Dorian patents through a license agreement between Eastman Kodak and Keller—Dorian Companies. In December 1930, the Keller—Dorian Company entered into an agreement with Eastman Kodak Company and Paramount Pictures, Inc., and a research program was begun in an effort to utilize the lenticular process for 35 mm entertainment motion pictures. Considerable effort and money was spent, with only limited success, in an attempt to make the system practical for motion picture release prints. In 1936 Paramount withdrew from the agreement and Kodak directed its primary efforts to the future development of the new Kodachrome color process invented in 1935 (Chapter VII). Some years later, in 1951. the process was revived by Kodak and Twentieth Century- Fox in another attempt to utilize the system for making motion picture release prints (Eastman Embossed Print Film). No prints were made for theatrical release, however, and once more the system was abandoned. With the introduction of color television, the system was revived again in the form of Eastman Embossed Color Kinescope Recording Film, introduced in 1956. This process met with very limited success; however, it was used commercially by the National Broadcasting Company to record several shows. It was finally abandoned after a few years and at the present time there is no commercial use of the lenticular process for color motion pictures.

.Agfa produced a  lenticular film 16mm Agfacolor based on the same process as Kodacolor.  See SMPE Journal Vol 20 April 1933 No 4 P301 Optical Photographic Principles of the Agfacolor Process F. Weil

The problems regarding sound on lenticular film is discussed in SMPE Journal Vol 20 Jan 1933 No 1 P60 Sound Remarks on Lenticular Color Film. A P Richard

John George Capstaff was born in Gateshead, UK on 24th February 1879 and died at the age of 80 on 31st January 1960.  He is buried in Mount Hope Cemetery in San Diago,

He had more than 100 patents whilst working for Eastman Kodak.

 Item 1 Capstaff 1915 Patent. - 6 frames of 2 col kodachrome films from the Brian Coe Collection Media Museum,  Bradford.

Note that the emulsion on each side has been scraped at some stage to reveal colours on last image.  The colours are also visiable on the edges of the frames

The Patent appears by kind permission of The Director, European Patent Office.

Click images to see larger image or to view patent

 

 

Colour Cinematography Adrian Cornwell Clyne Chapman and Hall Ltd London ppp 336-337

Kodachrome. (The Earlier Process.)
(Eastman Kodak Company.)
The name "Kodachrome" was originally used for a two-colour subtractive process worked out by J. G. Capstaff of the Kodak Research Laboratories. This process should not be confused, therefore, with the contemporary Kodachrome film.
Camera.-Beam-splitter. Both images were recorded on a single film. Printing. The printing had to be carried out with positives. The first stage was, therefore, to make a set of intermediate master positives. These were made by contact printing from the original negative. A projection printer embodying an elaborate prism mirror system positive bearing the pairs of complementary images.
The double-coated film now bearing negative images was developed and bleached; the bleach bath hardened the film only in the parts where the image had been printed. The two sides of the film were then dyed in the usual subtractive complementaries, the dye being absorbed by the gelatine only in the unhardened areas, thus providing positive dye images.

The Kodachrome Bleach Was:

A. Potassium Ferricyanide 37.5gm
Potassium Bromide 56.25gm
Potassium Dichromate 37.5gm
Acetic acid 10cc
Water 1000cc

B. Potassium alum, 5 per cent. solution.

A and B were mixed in equal Proporations

The films were fixed after bleaching. The drying was important and had to be as even as possible. Humidity of the film had also considerable bearing on the results; the drier the film the cleaner the highlights and the greater the contrast.
J. G. Capstaff patented the making of positives of different gammas by varying the development time. See also Comstock (Technicolor) and Brewster (U.S.P. 1,469,811).
KODACHROME PATENTS
E.P. 13,429 (1915) U.S.P. 1,196,080

This is a photo of Urban's sample and note saying 'Brewster'.

Click on the images to see larger image.

Some extracts from the Photographic Journal.

The    Camera

The real interest, however, was in the camera, which was patented about 1932. The patent described a beam-splitter inwhich the light from a single lens was divided up inside the camera so that it recorded on three separate films……

… That camera (said Dr. Spencer) was giving quite good service, but the use of the bipacks had several disadvantages, the chief being that the rear image, which was normally the blue printer., was always very slightly woolly, because in front of it was a silver emulsion which was scattering light. … Brewster's suggestion was that the light should be divided up between three separate negatives, each of which should receive light from the whole of the lens. The way in which that was done was to makeuse of metallic mirrors, rather like propellers, disposed at right angles to each other.

The Sound Track.

Some questions were asked with regard to the sound track and it was explained that a fourth printer was not used and so the track had to be either printed in one of the colours or else be a separate silver image.  If they had printed it in all colours so as to get black there would be a risk of the sound going off when the colours ran out of register, so they chose one colour which in most of the shots shown was the magenta

 

Another frame of Brewster Color.  The edge printing says:

EASTMAN KODAK (circle) NITRATE FILM (triangle square circle)

First circle date code denotes US 193

You can see demo reel of two colour Brewster Color here:

https://archive.org/details/exhibition-reel-of-two-color-film_1929

Here are some articles from US magazines from 1938 detailing  Brewster color in the States

Hollywood Spectator Apr-Oct 1938

CHEAPER COLOR PROCESS . . .Recently I had the pleasure of witnessing several shorts which displayed Brewster Color, a new and cheaper screen color process. The inventor, Mr. Brewster himself, was kind enough to go to some length to explain the intricacies of the new process, and I must confess that all of it was quite beyond me. My ears perked up, however, when he said that the negative cost was some five times cheaper than that of other color films now on the market. That is im¬ portant. Color, like sound when it first came in, is still somewhat of a cinematic luxury.

Motion Picture Herald May-Jun 1938

Color Shown

Test reels filmed in a three-color process developed after 10 years of experimentation were shown to the trade press in New York last week by P. D. Brewster, president of Brewster Color Film Corporation of Newark. Advantages claimed for the system are greater definition and depth of field with almost the same lens speed as with ordinary black and white negative and with no requirements for special lighting. Mr. Brewster left for Hollywood immediately after the showing to submit the process to producers and negotiate for the construction of a laboratory on the coast.

The Film Daily (Apr-Jun 1038)

Brewster Co. Demonstrates New 3-Color Film Process

Brewster Color Film Corp. of Newark, N. J., yesterday demonstrated its new three-color film process to members of the trade press at screenings in 1600 Broadway. Two films were projected, the first of which was made last December, and the second of which was produced recently. Former's subject matter is composed almost entirely of interior shots, while the latter features out-of-doors locales.

Process is subtractive, and essentially photographic as distinguished from lithographic processes commonly in use, company's president, P. D. Brewster, explained. Pictures, on a positive film, Brewster said, are printed photographically and then developed to form silver images, which are chemically converted into transparent mordant images, and which are then treated with basic dye to form the color images.

A particular advantage claimed for the process by Brewster is that currently it is the only one employing basic dyes, which are capable, he points out, of producnig pictures of purity and brilliance. Stated cost of prints is about five cents per foot.

Company has developed a three color camera in which three separate films are exposed through proper color filters without the use of the bi-pack system.

.Brewster declared he, and company's counsel, Judge John Evans, will leave New York today for Hollywood to demonstrate the process, which has been perfected after 10 years of research and experimentation, to major company there. Latter will be empowered to make test reels with their own stars and production staffs.

American Cinematography 1944-05

New Company Formed for Color Television

Associated Filmakers, Inc., has es¬ tablished a studio on the roof of the Scribner building, New York City, for the production of regular and color tele¬ vision programs. Stanley Neal is presi¬ dent of the company, which will use the English Brewster color process. Neal was formerly managing director of Revelation Films, of London, owner of the Brewster patents.

Two Brewster color cameras will be brought from London and others will be built in New York.

Film Daily Year Book 1938

BREWSTER COLOR LAB. HOLDING COMPANIES1 SET FOR WEST COAST

Washington Bureau of THE FILM DAILY

Construction on a new laboratory capable of handling up to 500,000 feet of film weekly will be started by Brewster Color Film Corp. in Hollywood within the next month, P. D. Brewster, president of the company, told The Film Daily Saturday. He also stated that the company was now preparing to make a test short with its newly marketed color process for a major company.

Contract for a series of shorts with this major company, and negotiations for several feature-length pictures depend on the success of the short, Brewster said. He stated that recent tests on the Coast had been "eminently" satisfactory and several major companies were interested in using the process.

Cost for the film is said to run between five and six cents a foot, with the company using specially designed cameras in which three separate color filters are employed without the use of the bi-pack system.

Brewster stated that final phases of deal for financing the laboratory had been successfully negotiated, with formal signing only step left before work is started on the new Coast plant. He would not name the major company he is dealing with, or the director who will make the test short. He expects to use a New York studio for making of the short, with production scheduled to start the latter part of next month, or early August.

YELLOW LAYER

Red Separation

Green Separation

Blue Separation

Vinten Grading Machine and Tape cutter

Please click on image to see larger image.

In the early days negatives were graded by the printer viewing the negative through a red filter over the outside of the printing aperature as it was exposing the positive stock.  The printer used his judgement to increase or decrease the brightness of the printer light which was a gas flame in the earlest days.  Eventually notches were cut into the side of the negative so that the printer knew when he had to alter he printer light.  For many years the notch cut into the edge of the film was the usual method for triggering grading light changes.  There were two main types of notches, the Bell and Howell notch and the Debrie notch.

A Debrie Notch was longer than a Bell and Howell Notch, it covered 2 Frames.

The notches were used to operate the mechanism that varied the amount of light the grader had specified.  The Bell and Howell printers D and J had a manually operated lever and dial that the printing operator pre-set to the required light value on a grading card.

 

Note the black lines alongside the light value warning the printer operator that the light changes were quick.  Debrie and other printing machine used the Debrie notch to move a chart.  The Waterhouse chart had holes punched in a length of black film leader, the size of the hole gave the amount of exposure to the print film. For colour printing filters could be fixed over the holes.  You can see a sample at the top of the page, click the image to see a larger image.  Debrie also used a system of black film leader with rectangle holes that told the printing machine when a light change should take place. Again there is sample at te top of the page.  It was called a long chart and the one with holes a short chart.

The next innervation was the Lawley clip. This was a nickel-silver staple that was attached to the edge of the film between the perforations.  The clip served two purposes, there were two clips for each light change.  The first clip told the reader on the printing machine when to make the change and the second clip set the value of the printer light. According to the light value the second clip appeared on either side of the film.  The machine for inserting clips is at the top of the page.

The clips had the advantage that the grading information was intregral with the roll of negative, no tape or chart to get lost.  The disadvantage was that if you wanted to make grading alteration you had to remove one or more clips and replace them.  A clip remover is shown below.

Click on images to see larger image

Next came the punched tape introduced by Bell and Howell for their Model C printers.  The tape had 8 rows of holes that gave the start and end of the tape when it was read by the printing machine reader.  It gave the value of the red, green and blue lights for each scene and finally a value if an automatic fade was required.  If the printing was black and white then the R, G and B lights would be equal.  The Model C had a special light source to be operated by the tape and a built in fader which gradually opened or closed the fader.  For more information on the Model C please see my page on the Model C.  An anotated picture of the tape is at the top of the page.  Because of the possible damage that can be caused to a negative by using notches which can cause tears to the negative the RFQ (Radio Frequency Cue) came into use.  This was a small adhesive aluminium patch that worked exactly as a notch but was electronically used to make a light change.  It made it easier as well as safer if alterations to the grading was necessary.  Removing a patch was easier rather than having ro repair an incorret notch.

Click on images to see larger image

The introduction of computers led to the use of an entirely new system cueing  Frame Count Cueing, known as FCC. The grader set the computer counting frames from a start mark and recorded the frame count to the first cue and then on for each light change.  There were two different systems for counting ‘Milestone’ where the computer recorded the distance from the start mark to each cue and “Batch" where the computer measured the distance from one cue to the next.

Eventually Punch Tapes were no longer used and firstly Floppy discs were used to feed the information to the printing machine and finally WI-FI was used to send the information.

A  Bell and Howell frame count punch Tape

BW Prints mage from negative at different lights on a Bell and Howell Model D printer

Please click images to see larger image

www.brianpritchard.com/wp/Printer Grading Charts.html

Every piece of film that we print needs to have an exposure level so that the resultant printed material is of the correct density.  It must not be too light or too dark.  The process of determining the exposure level we call GRADING in Europe and TIMING in the USA.

Sight grading requires the grader to determine the exposure level by examining the film over a light box using a magnifier.

The one of the advantages of sight grading systems is that it requires very little equipment, just a rewind table with a light box.

The disadvantage of sight grading is that it requires considerable practice, probably a matter of years.

The Printer Point is the basic unit of grading.  The unit used now is the Bell and Howell Printer Point.  The technical definition is that a one-point change is equivalent to altering the exposure by 0.25 Log Exposure.  This means that the amount of light doubles for every twelve-printer points. 

The method by which the grader communicates with the printing machine is called a cue.  As well as telling the Printing machine where we want the light change, we must tell it the value of the exposure or the printing light.  We do this by a band or chart.

We are trying to reproduce, within the limits of the photographic process, the original scene.  There are occasions when the customer does not want an exact reproduction of the original scene.  For example, when a scene is shot Day-for-Night, that is a scene is photographed during the day and needs to look like night.

The shadows are the darkest areas of the scene; they will appear lightest in a negative.  The highlights are the lightest areas in the scenes, the darkest in the negative.  A dark suit would be a good example of a shadow area and a white shirt a highlight area.

Grading is carried out by mentally comparing the scene in front of you with a standard scene that will print at the middle of the printer scale.  Some laboratories have their standard setting at a point below the midpoint of the printer range because the grader is more likely to require high lights for overexposed scenes than low lights for underexposed scenes.  If a scene is underexposed, then the resultant negative will have loss of detail in the shadows.  No matter how low a light you use you can never bring out detail that is not there.  Using a low light will give a print that is washed out and thin without a good black.  Unless we are dealing with a technical film or a newsreel where information from the image is more important than picture quality, we will get a more pleasing result by keeping the blacks black and perhaps sacrificing a little shadow detail.  The cameraman produces day-for-night by deliberately underexposing to lose shadow detail and the grader keeping the print dark.  He must be careful not to include the sun!

The grader must keep his mental image of the standard scene in his mind all the time he is grading.  He also must assume that the control is keeping the printers and process on aim.  It is impossible for a grader to get a good result if he is not sure that a particular light will always give the same result. 

Before we start grading, we must decide which printing machine to use and whether to print the film forwards or backwards.  If the film is single perforated 16mm then we do not have a choice because the film will only run one way on the printer just as in a projector.  35mm can be printed either way.

Which printing machine we use will depend on the type of work we are doing.  That is are we making a negative or a print or a duplicating positive?  In some laboratories different machines are used for different stocks.  The condition of the film will also help us to decide on the appropriate machine.  Some machines cannot handle shrunken films.

We decide on the direction by checking several factors.  We must select the type of cues we are using.  This will depend on the systems available on each printer; some laboratories use only one type of cueing, for example FCC 

If we are using RF Cues and the film is already cued for a backwards run, then it is sensible to print the film backwards.  The condition of the film is also a deciding factor.  If the film is badly shrunken, then we might have to print it forward to avoid the shrunken picture appearing in the soundtrack area.

Most 35mm Printing Machines has adjustable or interchangeable gates usually known as masks.  The usual gate is a five-way gate; full aperture or silent mask, forwards-picture mask, backwards-picture mask, forwards-sound mask and backwards-sound mask.  The grader must specify which mask to use and that depends on what we are printing.

The first light on a film is usually the Academy Leader and often has one or more grey scales or step wedges cut in to it.  Many laboratories have their own wedge that they cut into each film.  This can be measured on a densitometer to ascertain whether the print density is right.  This assumes that the wedge has been given a known standard light. If the process or printer varies then this wedge will be wrong.  It is good practise to always give the leader a standard light even if your laboratory does not use a wedge.

We can now commence to grade the film.  The first scenes are likely to be title or even a censor.  Both are often shot on clear base high contrast film stock.  We must judge the exposure so that the white is white, and the blacks are black.  Because we are dealing with high contrast material the exposure is quite critical.  Too much exposure and the whites will ‘fill-in’ and too little and the blacks will be grey.  A couple of lights less than the mid light should be about right for normally exposed titles.  If they are super-imposed titles, then we also must consider the background. Superimposed titles will be on duplicate negative stock and will have a normal contrast, so we have more latitude.  Duplicate negatives are almost always heavier than a camera negative.  This is because the duplicate negative must produce the same tonal range as a camera negative.  A camera negative is exposed so that the shadows are on the toe of the curve. When a print is made, and the shadows then appear on the shoulder of the print stock the result is a close reproduction of the brightness range of the original scene.  To retain the close reproduction, the duplicates must be printed on the straight-line portion of the curve.

As we make our way through the film, we must examine each scene to determine how much detail we want in the highlights or shadows.  We will always check the scene in several places in case the shot involves a pan or tracking shot and the exposure varies through the shot.  We also keep in mind the previous scene so that we can maintain an even balance through the film. It is often said that you should grade for flesh tones. From a colour viewpoint this might be true but in general you must grade for the highlights and shadows and largely ignore the skin densities.  Obviously, there are shots for example where the director wanted the face in silhouette then we ignore the shadow detail and make sure the face is as the director wanted.  A great difficulty for a grader working in the archive field is that the director’s instructions for grading are no longer available and most likely neither is the director!  We then must interpret the film as we hope the director wanted, although we usually have a client who is going to decide how he wants the film graded.

Once we have completed the grading for the film or reel then we must produce the appropriate bands for it.  We can then send the film to be cleaned and printed. For more information on Grading Bands please click the link.

It is essential for a grader to see as much of his work on the screen as is possible.  He can then learn where he is making errors and to equate his view of the negative over the bench with a picture on the screen.  The only way to become and stay a good grader is to have lots of practice with a continual self-appraisal by viewing as much of your work as possible.

Early Colour Systems.pdf  Please click to run the PDF.

For more information you can click on the links to open more pages on this site.

Lee Turner Process

Gaumontcolor

Kinemacolor

Gasparcolor

Dufaycolor

Some Books on Early Colour Processes:

'History of Color Photography' Joesph S Friedman Ph D, The American Photographic Publishing Company,  Boston, Mass 1945

'History of Motion Picture Color Technology' Roderick Ryan The Focal Press London and New York 1977

History of 3 Color Photography E J Wall FCS FRPS, The American Photographic Publishing Company,  Boston 1925

Technicolor Movies - The History of Dye Transfer Printing Richard ,W Hughes, McFarland & Co Inc Jefferson, North Carolina & London 1993

Photographic Chemistry Vol Two Pierre Glafkides, Translated by Keith M Hornsby, Fountain Press London

Item 7

Item 1

This is a perforating machine. It was owned by the late Tony Scott of Film and Photo. It was  apparently made during World War II.

Item 2

Picture printed onto aluminium base.

This is an article from 'Home Movies and Home Talkies June 1939

The system was patented in 1925 by Robert W Carter here is his patent CA249966A

A French PhD thesis by Philippe Rouyer   www.uk-us.fr/agedor.pdf covered the process.

Here is a translation of the section

kindly provided by Mikael Barnard and Boris Curwen

Item 3, 4, 5, 6. 7.

Item 3. This is a piece of two colour additive film. The film is sepia toned and alternate frames coloured red. It is possibly an early test by G Albert Smith, inventor of Kinemacolor. I have recently come across the picture on the right  Item 4 which is Biocolor so the left hand picture is probably a test by Freise-Green and not Smith

Item 5. This is a device used by Claude Friese Green to colour film with dye and a paintbrush. Made by William Vinten.

Item 6 is a digital composition from Item 1 frames made with Photoshop 7 and  Item 7 is  from Item 4.

Item 10

Item 11

Item 13

Item 16

Item 14

This sample is an early version of '2 perf' print.  The images are 2 perforations high but alternate images are upside-down.  The film was produced to project first one way showing every other frame through a 2 perf mask in the centre of the normal 35mm academy mask. 

The film was then shown from the other end to project the second set of pictures. The two sound tracks correspond to the two sets of pictures.  This all enabled a normal reel of film projected at 24 frames a second to last twice as long.

Item 15

Francitacolor process. Three frames on 35mm width film.  A normal B/W print was projected using a projector with three objectives through red, green and blue filters. The main problem was the usual one with additive systems - lack of picture brightness. A feature was made using this system in France and exhibited in July 1935 in Paris

Item 16

This is a digital composition from the frames made with Photoshop 7.

Item 19

Item 17

16mm Lawley clip inserter.  Lawley clips were nickel-silver staples inserted in the perforations.  The strips were punched from a roll of nickel silver.(see below)

Further Information on Lawley clips

Item 18

A Kodak logo found on some Ektachrome 16mm print film. It appears to be the EKC logo. I believe that it was printed by Kodak when processing Kodachrome film.

Itm 19

Dunning Colour from The National News issued on October 12th 1937. There doesn't seem to be much technical information on this process. Dunning Process was an early forerunner of travelling mattes and used for B/W.  The print is single -sided and has an Iron tone blue and an orange dye. Humphries Film Labs carried out Dunning Colour.

Items 20, 22 and 24

From a London collection.  It appears to be someone's experiments with two colour.

Items 21, 23 and 25

Digital compositions using Photoshop 7.

Note the fringing caused by time-parallax error.  The objects have moved between the two frames

17.5 mm with 2 Central Perforations.  Duoscope introduced in 1912

Item 32

Items 29, 30 and 31

Unknown three colour separation tests.  The colours are labelled in French

Item 32

Digital Reconstruction using Photoshop 7

 

Item 35

Three Cinerama Images

Item 36

This is two colour Technicolor, you can see traces of the orange/red and green images on the edges of the frames. I have been informed  by Nicolay Sharkanov that this frame comes from   "Gold diggers of Broadway" (1929) and Winnie Lightner and Albert Gran appear in the frame.

Item 43

Item 49

Item 44. 2 3/8 inch film and a 35mm film for comparison.  It was shot by the Bioscope Co of the Corbett-Fitzsimmons Boxing match on 17th March 1897.

Item 45 A 2 colour (Red and Green Tinted ) 17.5mm 

Item 46 a Photoshop 7 Digital reconstruction from Item 45

Item 47 is a piece of film from the Edison Home Kinetoscope

Item 48 A box of Lawley nickle silver strip for making Lawley Clips

Item 49 A Technicolor Matrix Joining Clip.

Year symbols used on products with 8mm perforations up to 31 December 1964

Information on 8mm date codes for Kodak Park and Kodak Ltd 1932-1941

Please click images to see larger image

Item 7

Please click images above to see larger image

1. Kelly's Herts 1894  

2. Herts 1899

3. London 1899

4. Sussex 1905

5. Sussex 19056.

6. Sussex 1911

7. Wardour Street 1915