[Tig] SuperCineColor

Rob Lingelbach rob at colorist.org
Mon Apr 7 22:08:48 BST 2008


Came across reference to a color process I hadn't known about, 3-strip  
SuperCineColor, which was based on the earlier 2-strip Cinecolor  
process.  In 1948 it became a 3-strip subtractive system, and below is  
an excerpt from the Wikipedia entry.  I'm curious if anyone has ever  
seen a print struck using this process, which may have been just as  
beautiful, but different, from Technicolor.

---begin Wikipedia entry

SuperCineColor utilized black and white matrices made primarily by  
monopack color negatives made with Ansco/Agfa, DuPont, Kodachrome, or  
the popular Eastmancolor film, for principal photography. After the  
negative was edited, it was copied through color filters into three  
black and white negatives. An oddity of the system was that rather  
than use the typical cyan, magenta and yellow primary subtractive  
colors, SuperCineColor printed their films with red, blue and yellow  
matrices in order to create a system that was compatible with the  
previous printers. The result was an oddly striking look to the final  
print. Printing entailed using duplitized stock, in which one side  
contained a silver emulsion toned red-magenta, and on the other side,  
cyan-blue. A yellow layer was added on the blue side through means of  
imbibition. The soundtrack was subsequently printed on the blue-yellow  
side in a blue soundtrack, but separate from those records. The final  
prints had vivid dyes that did not fade, and contrary to popular  
opinion, were no grainier than Technicolor prints and were just as  
sharp in focus. Both of these myths seems to be perpetrated by 16 mm,  
regular-process Cinecolor prints.

----end Wikipedia entry

--
Rob Lingelbach TIG admin.founder
rob at colorist.org  http://www.colorist.org/robhome.html







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