The main film of the Delhi Durbar itself was shot on 12 December 1911. The original footage ran for 2½ hours (16,000 ft.), presented in two different programmes. On DVD.įirst feature-length documentary capturing natural color rather than colorization techniques. The later scenes feature different actors and costumes from the earlier scenes. Some scenes are partially hand colored (e.g. Not released as a single feature, but as 32 individual shorts in three different groupings and shot at different times. Also known as The Passion Play and Vie et Passion du Christ. This became the standard process used by the major Hollywood studios until the mid-1950s.Įxtant. The final print, however, was a single full-color strip of film that did not need any special handling. Technicolor, originally also a two-color process capable of only a limited range of hues, was commercialized in 1922 and soon became the most widely used of the several two-color processes available in the 1920s.īeginning in 1932, Technicolor introduced a new full-color process, " Process 4", now commonly called "three-strip Technicolor" because the special camera used for live-action filming yielded separate black-and-white negatives for each of the three primary colors.
A simplified two-color version, introduced as Kinemacolor in 1908, was marginally successful for a few years, but the special projector it required and its inherent major technical defects contributed to its demise in 1914.
COLOR FINALE SERIAL NUMBER FULL
Because transparent dyes did not impact the clarity or detail of the image seen on the screen, the result could look rather naturalistic, but the choice of what colors to use and where was made by a person, so they could be very arbitrary and unlike the actual colors.Įdward Raymond Turner's process, tested in 1902, was the first to capture full natural color on motion picture film, but it proved to be mechanically impractical. The Handschiegl color process was a comparable technique. Stencil-based techniques such as Pathéchrome were a labor-saving alternative if many copies of a film had to be colored: each dye was rolled over the whole print using an appropriate stencil to restrict the dye to selected areas of each frame. The earliest attempts to produce color films involved either tinting the film broadly with washes or baths of dyes, or painstakingly hand-painting certain areas of each frame of the film with transparent dyes.