70-621: Call Me Bwana is a 1963 British Technicolor farce film starring Bob Hope and Anita Ekberg and directed by Gordon Douglas . Largely set in Africa , it was the only film made by Eon Productions not about the fictional MI6 agent James Bond until the 2014 film The Silent Storm . It was made by most of the same crew as Dr. No . Bob Hope plays Matt Merriwether, a New York writer who has passed off his uncle's memoirs of explorations in Africa as his own. Merriwether lives his false reputation as
140-524: A Radio Picture entitled The Runaround (1931). The new process not only improved the color but also removed specks (that looked like bugs) from the screen, which had previously blurred outlines and lowered visibility. This new improvement along with a reduction in cost (from 8.85 cents to 7 cents per foot) led to a new color revival. Warner Bros. took the lead once again by producing three features (out of an announced plan for six features): Manhattan Parade (1932), Doctor X (1932) and Mystery of
210-424: A beam splitter consisting of a partially reflecting surface inside a split-cube prism , color filters , and three separate rolls of black-and-white film (hence the "three-strip" designation). The beam splitter allowed one-third of the light coming through the camera lens to pass through the reflector and a green filter and form an image on one of the strips, which therefore recorded only the green-dominated third of
280-563: A great white hunter to the point of living in a Manhattan apartment furnished to look like an African safari lodge complete with sound effects records of African fauna . Based on his false reputation as an "Africa Expert", he is recruited by the United States Government and NASA to locate a missing secret space probe before it can be located by hostile forces. Hope's co-stars include Edie Adams and Anita Ekberg playing secret agents . Golfer Arnold Palmer also makes
350-477: A mordant solution and then brought into contact with each of the three dye-loaded matrix films in turn, building up the complete color image. Each dye was absorbed, or imbibed, by the gelatin coating on the receiving strip rather than simply deposited onto its surface, hence the term "dye imbibition". Strictly speaking, this is a mechanical printing process most closely related to Woodburytype and very loosely comparable to offset printing or lithography , and not
420-462: A "fast rewrite." Six writers had already worked on the script, "hundreds of jokes had been written about a bumbling explorer and a CIA agent searching for a U.S. space capsule in Africa, but no filmable story had emerged." Jarrico believed the script needed logic. Broccoli subsequently paid Jarrico $ 2,500 for four weeks' uncredited work. Production director Syd Cain recalled that originally wild African animals from British zoos were to be released onto
490-458: A $ 150,000 set for a chess match which repeated the "chess pawn" motif throughout the room. He worked on a number of James Bond movies creating numerous gadgets. Cain's name appears in documents in several films on which he worked. In Our Man in Havana where he was assistant art director his name features on the blueprints of a vacuum cleaner. Alfred Hitchcock 's Frenzy features an in-joke of
560-485: A Bob Hope movie. Zec replied that he had seen a British rock and roll group called The Beatles that had sellout crowds and thought about featuring them in a film. Saltzman laughed and asked why he would want to make a film about four young long-haired kids from Liverpool when he had Bob Hope. United Artists made the Beatles film with Walter Shenson and A Hard Day's Night was more successful than Call Me Bwana . The film
630-399: A MOD (manufacture-on-demand) widescreen Region 1 DVD. Technicolor Technicolor is a family of color motion picture processes. The first version, Process 1, was introduced in 1916, and improved versions followed over several decades. Definitive Technicolor movies using three black-and-white films running through a special camera (3-strip Technicolor or Process 4) started in
700-404: A Technicolor cartoon sequence "Hot Choc-late Soldiers" produced by Walt Disney. On July 28 of that year, Warner Bros. released Service with a Smile , followed by Good Morning, Eve! on September 22, both being comedy short films starring Leon Errol and filmed in three-strip Technicolor. Pioneer Pictures , a movie company formed by Technicolor investors, produced the film usually credited as
770-512: A big-game hunter. One day on the set, she met a stuntwoman dressed like her character, throwing a male stuntman in a jiu jitsu throw; Adams realised that now her character was a secret agent. Adams' original role was given to Anita Ekberg , but as Hope had promised Adams a role, the script was rewritten to add a new female character. In fact, the film was indeed being written during shooting. In October 1962, after being in production for two weeks, producer Broccoli hired novelist Paul Jarrico to do
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#1733085045966840-546: A black-and-white picture again." Although Disney's first 60 or so Technicolor cartoons used the three-strip camera, an improved "successive exposure" ("SE") process was adopted c. 1937 . This variation of the three-strip process was designed primarily for cartoon work: the camera would contain one strip of black-and-white negative film, and each animation cel would be photographed three times, on three sequential frames, behind alternating red, green, and blue filters (the so-called "Technicolor Color Wheel", then an option of
910-418: A brief cameo, playing a crazy round of golf with Hope—a scene revisited in the film Spies Like Us where Hope makes a cameo appearance and plays golf through a tent. A scene involving an unseen President John F. Kennedy in his famous rocking chair is parodied with his Russian counterpart Nikita Khrushchev rocking in a chair that squeaks loudly. According to Albert R. Broccoli 's autobiography When
980-450: A green filter and one behind a red filter. The difference was that the two-component negative was now used to produce a subtractive color print. Because the colors were physically present in the print, no special projection equipment was required and the correct registration of the two images did not depend on the skill of the projectionist. The frames exposed behind the green filter were printed on one strip of black-and-white film, and
1050-445: A photographic one, as the actual printing does not involve a chemical change caused by exposure to light. During the early years of the process, the receiver film was preprinted with a 50% black-and-white image derived from the green strip, the so-called Key, or K, record. This procedure was used largely to cover up fine edges in the picture where colors would mix unrealistically (also known as fringing ). This additional black increased
1120-588: A possible shot-in-the-arm for the ailing industry. In November 1933, Technicolor's Herbert Kalmus and RKO announced plans to produce three-strip Technicolor films in 1934, beginning with Ann Harding starring in a projected film The World Outside . Live-action use of three-strip Technicolor was first seen in a musical number of the Metro-Goldwyn-Mayer feature The Cat and the Fiddle , released February 16, 1934. On July 1, MGM released Hollywood Party with
1190-535: A racing form featuring the horse Jon Finch is to bet on is owned by a "Mrs S. Cain". Cain was married three times and had eight children, three have excelled in the design industry; Maurice Cain as production designer in film and TV, Anthony Cain in illustration, and Leigh Cain in exhibition design. In 2002 Cain wrote his autobiography "Not Forgetting James Bond" in which he lay down memories of working with hundreds of film directors, actors and crew, and also his interesting sporting family history. His father Tom Cain
1260-509: A recording of The Big Safari as well as another United Artists comedy The Mouse on the Moon under a pseudonym of "The Countdowns". Bob Hope sang the title song over the end credits. Call Me Bwana was released to VHS by MGM/UA Home Video on 2 March 1993, which was available exclusively through Warner Home Video worldwide and was also released to DVD by 20th Century Fox Home Entertainment on 27 June 2011 via MGM Limited Edition Collection as
1330-647: A sequence where Ali Kerim Bey assassinates the Russian agent Krilencu with a sniper rifle. Krilencu attempts to escape through a window, which is situated in Anita Ekberg's mouth, on the wall-sized poster: "She should have kept her mouth shut," Bond says. In the original novel by Ian Fleming, published in 1957, the scene happens in a trapdoor situated in Marilyn Monroe's mouth on a poster for Niagara . Production of From Russia with Love actually began three days prior to
1400-737: A synchronized score and sound effects. Redskin (1929), with a synchronized score, and The Mysterious Island (1929), a part-talkie, were photographed almost entirely in this process also but included some sequences in black and white. The following talkies were made entirely – or almost entirely – in Technicolor Process 3: On with the Show! (1929) (the first all-talking color feature), Gold Diggers of Broadway (1929), The Show of Shows (1929), Sally (1929), The Vagabond King (1930), Follow Thru (1930), Golden Dawn (1930), Hold Everything (1930), The Rogue Song (1930), Song of
1470-404: The spectrum . The other two-thirds was reflected sideways by the mirror and passed through a magenta filter, which absorbed green light and allowed only the red and blue thirds of the spectrum to pass. Behind this filter were the other two strips of film, their emulsions pressed into contact face to face. The front film was a red-blind orthochromatic type that recorded only the blue light. On
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#17330850459661540-510: The Acme, Producers Service and Photo-Sonics animation cameras). Three separate dye transfer printing matrices would be created from the red, green, and blue records in their respective complementary colors, cyan, magenta and yellow. Successive exposure was also employed in Disney's "True Life Adventure" live-action series, wherein the original 16mm low-contrast Kodachrome Commercial live action footage
1610-771: The Bell Tolls : Syd Cain Sydney B. Cain (16 April 1918 – 21 November 2011) was a British production designer who worked on more than 30 films, including four in the James Bond series in the 1960s and 1970s. Cain was born in Grantham , Lincolnshire . After enlisting in the Royal Air Force , he survived a plane crash in Rhodesia during World War II , which broke his back, and also later survived being struck by lightning. He entered
1680-742: The Flame (1930), Song of the West (1930), The Life of the Party (1930), Sweet Kitty Bellairs (1930), Bride of the Regiment (1930), Mamba (1930), Whoopee! (1930), King of Jazz (1930), Under a Texas Moon (1930), Bright Lights (1930), Viennese Nights (1930), Woman Hungry (1931), Kiss Me Again (1931) and Fifty Million Frenchmen (1931). In addition, many feature films were released with Technicolor sequences. Numerous short subjects were also photographed in Technicolor Process 3, including
1750-571: The Snow Melts , Eon Productions was originally contracted by United Artists to make two films a year for them: one James Bond film and one non- Bond film. Many original suggestions were meant to showcase Sean Connery , who turned them all down, as he did not want his career totally in the hands of Eon. When asked by journalist and close Broccoli affiliate Donald Zec if they had any ideas for their non- Bond film, Harry Saltzman , who had previously made The Iron Petticoat with Hope, suggested
1820-507: The UK release of Call Me Bwana . The next non-Bond Eon Productions release would not be until the 2014 film The Silent Storm , followed by Film Stars Don't Die in Liverpool in 2017. The film was scored by Monty Norman . John Barry claimed that Norman contacted him to orchestrate his theme The Big Safari, but the film's orchestration was eventually credited to Muir Mathieson . Barry released
1890-506: The Wasteland , was released in 1924. Process 2 was also used for color sequences in such major motion pictures as The Ten Commandments (1923), The Phantom of the Opera (1925), and Ben-Hur (1925). Douglas Fairbanks ' The Black Pirate (1926) was the third all-color Process 2 feature. Although successful commercially, Process 2 was plagued with technical problems. Because the images on
1960-481: The Wax Museum (1933). Radio Pictures followed by announcing plans to make four more features in the new process. Only one of these, Fanny Foley Herself (1931), was actually produced. Although Paramount Pictures announced plans to make eight features and Metro-Goldwyn-Mayer promised two color features, these never materialized. This may have been the result of the lukewarm reception to these new color pictures by
2030-615: The Wind (1939), the film Blue Lagoon (1949), and animated films such as Snow White and the Seven Dwarfs (1937), Gulliver's Travels (1939), Pinocchio (1940), and Fantasia (1940). As the technology matured, it was also used for less spectacular dramas and comedies. Occasionally, even a film noir – such as Leave Her to Heaven (1945) or Niagara (1953) – was filmed in Technicolor. The "Tech" in
2100-544: The additive Kinemacolor and Chronochrome processes, Technicolor prints did not require any special projection equipment. Unlike the additive Dufaycolor process, the projected image was not dimmed by a light-absorbing and obtrusive mosaic color filter layer. Very importantly, compared to competing subtractive systems, Technicolor offered the best balance between high image quality and speed of printing. The Technicolor Process 4 camera, manufactured to Technicolor's detailed specifications by Mitchell Camera Corporation, contained
2170-460: The areas corresponding to the clearest, least-exposed areas of the negative. To make each final color print, the matrix films were soaked in dye baths of colors nominally complementary to those of the camera filters: the strip made from red-filtered frames was dyed cyan-green and the strip made from green-filtered frames was dyed orange-red. The thicker the gelatin in each area of a frame, the more dye it absorbed. Subtle scene-to-scene colour control
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2240-635: The company's name was inspired by the Massachusetts Institute of Technology , where Herbert Kalmus and Daniel Frost Comstock received their undergraduate degrees in 1904 and were later instructors. The term "Technicolor" has been used historically for at least five concepts: Both Kalmus and Comstock went to Switzerland to earn PhD degrees; Kalmus at University of Zurich , and Comstock at Basel in 1906. In 1912, Kalmus, Comstock, and mechanic W. Burton Wescott formed Kalmus, Comstock, and Wescott, an industrial research and development firm. Most of
2310-454: The company, and Technicolor Inc. was chartered in Delaware. Technicolor originally existed in a two-color (red and green) system . In Process 1 (1916), a prism beam-splitter behind the camera lens exposed two consecutive frames of a single strip of black-and-white negative film simultaneously, one behind a red filter, the other behind a green filter. Because two frames were being exposed at
2380-530: The contrast of the final print and concealed any fringing. However, overall colorfulness was compromised as a result. In 1944, Technicolor had improved the process to make up for these shortcomings and the K record was eliminated. Kalmus convinced Walt Disney to shoot one of his Silly Symphony cartoons, Flowers and Trees (1932), in Process 4, the new "three-strip" process. Seeing the potential in full-color Technicolor, Disney negotiated an exclusive contract for
2450-413: The cupped ones could be shipped to their Boston laboratory for flattening, after which they could be put back into service, at least for a while. The presence of image layers on both surfaces made the prints especially vulnerable to scratching, and because the scratches were vividly colored they were very noticeable. Splicing a Process 2 print without special attention to its unusual laminated construction
2520-500: The early 1930s and continued through to the mid-1950s, when the 3-strip camera was replaced by a standard camera loaded with single-strip "monopack" color negative film. Technicolor Laboratories were still able to produce Technicolor prints by creating three black-and-white matrices from the Eastmancolor negative (Process 5). Process 4 was the second major color process, after Britain's Kinemacolor (used between 1909 and 1915), and
2590-552: The early patents were taken out by Comstock and Wescott, while Kalmus served primarily as the company's president and chief executive officer. When the firm was hired to analyze an inventor's flicker-free motion picture system, they became intrigued with the art and science of filmmaking, particularly color motion picture processes, leading to the founding of Technicolor in Boston in 1914 and incorporation in Maine in 1915. In 1921, Wescott left
2660-487: The feature film industry would soon be turning out color films exclusively. By 1931, however, the Great Depression had taken its toll on the film industry, which began to cut back on expenses. The production of color films had decreased dramatically by 1932, when Burton Wescott and Joseph A. Ball completed work on a new three-color movie camera. Technicolor could now promise studios a full range of colors, as opposed to
2730-459: The film had an extremely slow speed of ASA 5. That, and the bulk of the cameras and a lack of experience with three-color cinematography made for skepticism in the studio boardrooms. An October 1934 article in Fortune magazine stressed that Technicolor, as a corporation, was rather remarkable in that it kept its investors quite happy despite the fact that it had only been in profit twice in all of
2800-412: The first color sound cartoons by producers such as Ub Iwerks and Walter Lantz . Song of the Flame became the first color movie to use a widescreen process (using a system known as Vitascope , which used 65mm film). In 1931, an improvement of Technicolor Process 3 was developed that removed grain from the Technicolor film, resulting in more vivid and vibrant colors. This process was first used on
2870-406: The first live-action short film shot in the three-strip process, La Cucaracha released August 31, 1934. La Cucaracha is a two-reel musical comedy that cost $ 65,000, approximately four times what an equivalent black-and-white two-reeler would cost. Released by RKO , the short was a success in introducing the new Technicolor as a viable medium for live-action films. The three-strip process also
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2940-422: The frames exposed behind the red filter were printed on another strip. After development, each print was toned to a color nearly complementary to that of the filter: orange-red for the green-filtered images, cyan-green for the red-filtered ones. Unlike tinting, which adds a uniform veil of color to the entire image, toning chemically replaces the black-and-white silver image with transparent coloring matter, so that
3010-442: The gate, it cooled and the bulge subsided, but not quite completely. It was found that the cemented prints were not only very prone to cupping, but that the direction of cupping would suddenly and randomly change from back to front or vice versa, so that even the most attentive projectionist could not prevent the image from temporarily popping out of focus whenever the cupping direction changed. Technicolor had to supply new prints so
3080-469: The golf course sequence but the idea was shelved when they caused expensive damage. Spoofing a scene from Dr. No , Hope's character is asleep in a tent when a tarantula begins crawling up his leg. A similar thing had happened to James Bond in the first 007 film, played seriously, rather than for laughs. Call Me Bwana is "plugged" in Eon Productions' 1963 Bond film From Russia with Love during
3150-520: The highlights remain clear (or nearly so), dark areas are strongly colored, and intermediate tones are colored proportionally. The two prints, made on film stock half the thickness of regular film, were then cemented together back to back to create a projection print. The Toll of the Sea , which debuted on November 26, 1922, used Process 2 and was the first general-release film in Technicolor. The second all-color feature in Process 2 Technicolor, Wanderer of
3220-447: The introduction of color did not increase the number of moviegoers to the point where it was economical. This and the Great Depression severely strained the finances of the movie studios and spelled the end of Technicolor's first financial successes. Technicolor envisioned a full-color process as early as 1924, and was actively developing such a process by 1929. Hollywood made so much use of Technicolor in 1929 and 1930 that many believed
3290-418: The limited red–green spectrum of previous films. The new camera simultaneously exposed three strips of black-and-white film, each of which recorded a different color of the spectrum. The new process would last until the last Technicolor feature film was produced in 1955. Technicolor's advantage over most early natural-color processes was that it was a subtractive synthesis rather than an additive one: unlike
3360-629: The materials. Original Technicolor prints that survived into the 1950s were often used to make black-and-white prints for television and simply discarded thereafter. This explains why so many early color films exist today solely in black and white. Warner Bros., which had vaulted from a minor exhibitor to a major studio with its introduction of the talkies , incorporated Technicolor's printing to enhance its films. Other producers followed Warner Bros.' example by making features in color, with either Technicolor, or one of its competitors, such as Brewster Color and Multicolor (later Cinecolor ). Consequently,
3430-624: The most widely used color process in Hollywood during the Golden Age of Hollywood . Technicolor's three-color process became known and celebrated for its highly saturated color, and was initially most commonly used for filming musicals such as The Wizard of Oz (1939), Down Argentine Way (1940), and Meet Me in St. Louis (1944), costume pictures such as The Adventures of Robin Hood (1938) and Gone with
3500-464: The only movie made in Process 1, The Gulf Between , which had a limited tour of Eastern cities, beginning with Boston and New York on September 13, 1917, primarily to interest motion picture producers and exhibitors in color. The near-constant need for a technician to adjust the projection alignment doomed this additive color process. Only a few frames of The Gulf Between , showing star Grace Darmond , are known to exist today. Convinced that there
3570-425: The planned art director just prior to the filming of Stanley Kubrick 's Lolita (1962). After work on the spy spoof Road to Hong Kong Cain rejoined Broccoli's Eon Productions . Cain's name was accidentally missed off the titles for Dr No , and the producer Cubby Broccoli instead gave him a solid gold pen as it would have cost too much to re-create the titles. For From Russia with Love , Cain designed
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#17330850459663640-432: The projection print made of double-cemented prints in favor of a print created by dye imbibition . The Technicolor camera for Process 3 was identical to that for Process 2, simultaneously photographing two consecutive frames of a black-and-white film behind red and green filters. In the lab, skip-frame printing was used to sort the alternating color-record frames on the camera negative into two series of contiguous frames,
3710-501: The public. Two independently produced features were also made with this improved Technicolor process: Legong: Dance of the Virgins (1934) and Kliou the Tiger (1935). Very few of the original camera negatives of movies made in Technicolor Process 2 or 3 survive. In the late 1940s, most were discarded from storage at Technicolor in a space-clearing move, after the studios declined to reclaim
3780-441: The red-filtered frames being printed onto one strip of specially prepared "matrix" film and the green-filtered frames onto another. After processing, the gelatin of the matrix film's emulsion was left proportionally hardened, being hardest and least soluble where it had been most strongly exposed to light. The unhardened fraction was then washed away. The result was two strips of relief images consisting of hardened gelatin, thickest in
3850-560: The same time, the film had to be photographed and projected at twice the normal speed. Exhibition required a special projector with two apertures (one with a red filter and the other with a green filter), two lenses, and an adjustable prism that aligned the two images on the screen. The results were first demonstrated to members of the American Institute of Mining Engineers in New York on February 21, 1917. Technicolor itself produced
3920-480: The surface of its emulsion was a red-orange coating that prevented blue light from continuing on to the red-sensitive panchromatic emulsion of the film behind it, which therefore recorded only the red-dominated third of the spectrum. Each of the three resulting negatives was printed onto a special matrix film. After processing, each matrix was a nearly invisible representation of the series of film frames as gelatin reliefs, thickest (and most absorbent) where each image
3990-486: The three-strip process. One Silly Symphony , Three Little Pigs (1933), engendered such a positive audience response that it overshadowed the feature films with which it was shown. Hollywood was buzzing about color film again. According to Fortune magazine, " Merian C. Cooper , producer for RKO Radio Pictures and director of King Kong (1933), saw one of the Silly Symphonies and said he never wanted to make
4060-475: The two sides of the print were not in the same plane, both could not be perfectly in focus at the same time. The significance of this depended on the depth of focus of the projection optics. Much more serious was a problem with cupping. Films in general tended to become somewhat cupped after repeated use: every time a film was projected, each frame in turn was heated by the intense light in the projection gate, causing it to bulge slightly; after it had passed through
4130-595: The use of the process in animated films that extended to September 1935. Other animation producers, such as the Fleischer Studios and the Ub Iwerks studio, were shut out – they had to settle for either the two-color Technicolor systems or use a competing process such as Cinecolor . Flowers and Trees was a success with audiences and critics alike, and won the first Academy Award for Best Animated Short Film . All subsequent Silly Symphonies from 1933 on were shot with
4200-400: The world of film after the war as a draughtsman . He worked his way up to being an assistant art director with Albert R. Broccoli 's and Irving Allen 's Warwick Films beginning with Cockleshell Heroes . He became one of Warwick's stock company working on several of Warwick's films including location work on Fire Down Below . He became a full-fledged art director after an injury to
4270-405: The years of its existence, during the early boom at the turn of the decade. A well-managed company, half of whose stock was controlled by a clique loyal to Kalmus, Technicolor never had to cede any control to its bankers or unfriendly stockholders. In the mid-'30s, all the major studios except MGM were in the financial doldrums, and a color process that truly reproduced the visual spectrum was seen as
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#17330850459664340-412: Was apt to result in a weak splice that would fail as it passed through the projector. Even before these problems became apparent, Technicolor regarded this cemented print approach as a stopgap and was already at work developing an improved process. Based on the same dye-transfer technique first applied to motion pictures in 1916 by Max Handschiegl, Technicolor Process 3 (1928) was developed to eliminate
4410-412: Was darkest and thinnest where it was lightest. Each matrix was soaked in a dye complementary to the color of light recorded by the negative printed on it: cyan for red, magenta for green, and yellow for blue (see also: CMYK color model for a technical discussion of color printing). A single clear strip of black-and-white film with the soundtrack and frame lines printed in advance was first treated with
4480-638: Was first duplicated onto a 35mm fine-grain SE negative element in one pass of the 16mm element, thereby reducing wear of the 16mm original, and also eliminating registration errors between colors. The live-action SE negative thereafter entered other Technicolor processes and were incorporated with SE animation and three-strip studio live-action, as required, thereby producing the combined result. The studios were willing to adopt three-color Technicolor for live-action feature production, if it could be proved viable. Shooting three-strip Technicolor required very bright lighting, as
4550-399: Was managed by partial wash-back of the dyes from each matrix. Each matrix in turn was pressed into contact with a plain gelatin-coated strip of film known as the "blank" and the gelatin "imbibed" the dye from the matrix. A mordant made from deacetylated chitin was applied to the blank before printing, to prevent the dyes from migrating or "bleeding" after they were absorbed. Dye imbibition
4620-433: Was no future in additive color processes, Comstock, Wescott, and Kalmus focused their attention on subtractive color processes. This culminated in what would eventually be known as Process 2 (1922) (often referred to today by the misnomer "two-strip Technicolor"). As before, the special Technicolor camera used a beam-splitter that simultaneously exposed two consecutive frames of a single strip of black-and-white film, one behind
4690-423: Was not suitable for printing optical soundtracks, which required very high resolution, so when making prints for sound-on-film systems the "blank" film was a conventional black-and-white film stock on which the soundtrack, as well as frame lines, had been printed in the ordinary way prior to the dye transfer operation. The first feature made entirely in the Technicolor Process 3 was The Viking (1928), which had
4760-518: Was only used indoors. In 1936, The Trail of the Lonesome Pine became the first color production to have outdoor sequences, with impressive results. The spectacular success of Snow White and the Seven Dwarfs (1937), which was released in December 1937 and became the top-grossing film of 1938, attracted the attention of the studios. Film critic Manny Farber on the 1943 Technicolor film For Whom
4830-514: Was originally intended to be shot entirely on location in Kenya but the problems of the Mau Mau Uprising led the producers to only have second unit cinematography led by John Coquillon . Edie Adams thought that she was actually going to Africa and had painful inoculations. She remembered that the film seemed to be written as it went along; initially her character was a nuclear scientist, then
4900-432: Was used in some short sequences filmed for several movies made during 1934, including the final sequences of The House of Rothschild ( Twentieth Century Pictures / United Artists ) with George Arliss and Kid Millions ( Samuel Goldwyn Studios ) with Eddie Cantor . Pioneer/RKO's Becky Sharp (1935) became the first feature film photographed entirely in three-strip Technicolor. Initially, three-strip Technicolor
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