Technicolor No. II
The first subtractive 2 color process introduced by Technicolor captured the incoming light through a beam splitter with red and green filters also. However, in contrast to the first Technicolor process, the two b/w images were recorded on one negative strip. This was achieved by the pull-down of two frames simultaneously, a process that required the double speed in the camera. These two frames were arranged in pairs, whereby the green record was inverted up-side down (see image).
These two images were then step-printed onto two positives. A tanning process hardened the silver image. In the following step the soft portions were washed away. The relief matrices were then glued together and the opposite sides of the film dyed red-orange and blue-green respectively.
Although the first film shot in this process, The Toll of the Sea (1922) was a huge commercial success, the system encountered many practical difficulties. The cemented film tended to be scratched more easily and more noticeably and even more so it curled as a result of irregular shrinking caused by the heat in the projector. In addition, the costs were very high and Technicolor faced difficulties to deliver on time due to their limited capacities. Only very few feature films were shot entirely in color. More often, the films contained short scenes in Technicolor while the rest of the films were dyed by the usual applied processes (see list of films on this page).
In the course of time Technicolor II prints fade to orange.
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Some parts of Ben Hur (USA 1925, Fred Niblo) were originally shot on Technicolor No. II and combined with tinted, toned and black-and-white scenes.
Trailer, Technicolor No. III dye-transfer print. Credit: Library of Congress.
Technicolor dye-transfer print. Credit: Národní filmový archiv / National Film Archive, Prague.
Chromogenic print. Credit: Národní filmový archiv / National Film Archive, Prague.
Chromogenic print. Credit: George Eastman Museum, Moving Image Department.
Behlmer, Rudy (1964): Technicolor. In: Films in Review 15,6, 1964, pp. 333-351, on pp. 336-342.
Brown, Simon (2012): Technical Appendix. In: Sarah Street: Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, pp. 259-287, on pp. 284-286 (all Technicolor processes).
Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI, p. 38.
Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions, p. 132.
Cornwell-Clyne, Adrian [= Adrian Klein] (1951): Colour Cinematography. London: Chapman & Hall, 3rd edition, pp. 451-479 (all Technicolor processes).
Everett, Wendy (2007): Mapping Colour. An Introduction to the Theories and Practices of Colour. In: Wendy Everett (ed.): Questions of Colour in Cinema. From Paintbrush to Pixel. Oxford: Peter Lang, pp. 7–38, on p. 20.
Haines, Richard W. (1993): Technicolor Movies. The History of Dye Transfer Printing. Jefferson, North Carolina: McFarland, pp. 4-7.
Happé, Bernard (1984): 80 Years of Colour Cinematography. London: British Kinematograph Sound & Television Society, p. 8.
Kalmus, Herbert T. (1938): Technicolor Adventures in Cinemaland. In: Journal of the Society of Motion Picture Engineers, 31,6, 1938, pp. 564-585, on pp. 566-571.
Koshofer (1993): Seit 75 Jahren Technicolor-Filme. In: Film & TV Kameramann, 42,1, 1993, pp. 24-34, on p. 24. (in German)
Neale, Steve (1985): The Beginnings of Technicolor. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, 2006, pp. 13-23, on pp. 14-15and on p. 18.
Nowotny, Robert A. (1983): The Way of All Flesh Tones. A History of Color Motion Picture Processes, 1895-1929. New York: Garland Pub., pp. 210-217and pp. 220-224.
Pinel, Vincent (1992): La forêt des techniques. In: Michel Ciment (ed.): Ciné mémoire. Colloque international d’information (7-9 octobre 1991). Paris: Femis, pp. 17-24, on p. 21-22. (in French)
Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, 21,1, 2009, pp. 47-60, on p. 49.
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 78-79.
Anonymous (1924): The Shadow Stage. A Review of the New Pictures. Wanderer of the Wasteland. In: Photoplay, 26,3, p. 49.
Anonymous (1926): The Shadow Stage. A Review of the New Pictures. The Black Pirate. In: Photoplay, 29,6, p. 48.