Gaumont Chronochrome

Additive 3 color: Sawn-off lenses and filters, simultaneous taking and projection
“The competition between Kinemacolor and other rival systems was partially stimulated by a Utopian faith in the potential of film technology to achieve ‘natural colour’, reality ‘as it is’ being the goal of the cinematic ...
  • Mannoni_GaumontChronochrome_Gaumont_b.jpg

11 Images in 1 Gallery


Additive 2 color: Simultaneous 1 strip
“The first two-colour additive method in which the two components were taken and projected simultaneously was the Colcin process, in 1913. The result of a Franco-Japanese collaboration, it was demonstrated at the International Kinematographic ...
  • Coe (1981)

1 Image

Technicolor No. I

Additive 2 color: Beam-splitter
During the capturing of the film a beam-splitter in combination with filters in the camera divided the incoming light into a red and a green separation negative on black-and-white stock. When projected in the cinema the two images were combined ...
  • Ruedel_technicolor1_fig1.jpg

3 Images


Additive 3 color: Moving lenses
“The process of J. Szczepanik in 1925 was impracticable. He used a non-intermittent camera having a chain of eighteen lenses moving together with the film behind a collimating lens, three pictures being simultaneously exposed.” (Klein, ...

Mroz Farbenfilm

Additive 2 color: Alternately stained images, 16 mm


Additive 3 color: 4 images on 65 mm
  • Steinbacher (2013)

2 Images

Crosene Process

Additive 4 color: Bi-pack, substandard

Telco Color, additive 2 color

Additive 2 color: Split optics, side by side


Additive 3 color: Four lenses, red-green-blue-grey
  • Steinbacher (2013)

2 Images