Technicolor vs Kodak

Discussion in 'Silver Gelatin Based Emulsion Making & Coating' started by Mustafa Umut Sarac, May 31, 2011.

  1. Mustafa Umut Sarac

    Mustafa Umut Sarac Subscriber

    Oct 29, 2006
    35mm RF
    I got this from a book on technicolor.

    At a third remove from the ideal print are reproductions of Technicolor films
    using photochemical processes like Eastmancolor. These versions present a distinct
    set of problems because the processes rely on different means for producing
    color.Where Technicolor’s dye-transfer printing mechanically dyed the image on
    the release stock, processes like Eastmancolor depend on coupler development,
    that is, the formation of dye by the interaction of chemicals within various layers
    of the emulsion. These multilayer films are far more complex, both physically and
    chemically, than the materials used by Technicolor.5 Since the great majority of
    color films available today are Eastmancolor versions, we must be aware of the
    differences between them and a Technicolor original.
    Dr. Richard Goldberg, vice president of research and development for Technicolor
    during the 1950s, oversaw the reformulation of the dye-transfer process for
    use with Eastmancolor stock, and he has expert knowledge of the differences between
    the processes. Goldberg explained to me that one strength of dye-transfer
    was color separation, or the ability to precisely control individual color components.
    Release prints would be dyed three times with a different matrix, a sort
    of rubber stamp, carrying yellow, cyan, and magenta dye. Each matrix could be
    independently controlled to alter tone scale and color rendition, and the density
    of each dye could be modified to control color contrast. Further, the matrices
    used to produce prints were made from the original negative. The processing of
    Eastmancolor stocks, on the other hand, involves the creation of internegatives
    and interpositives, steps between the original negative and the final print, leading
    to interimage contamination, or ‘‘cross-talk,’’ between the various layers of
    color. As an example, Goldberg noted that Eastmancolor printing has difficulty
    withholding cyan information from flesh tones, which should be very rich in magenta
    and yellow.6 For similar reasons, yellows in Eastmancolor tend more toward
    orange than in Technicolor.7 Most significantly, the complexity of the chemical
    reactions in Eastmancolor film is responsible for the well-known problem of color
    fading, in which the image loses its blue information and takes on a pinkish or
    salmon tint. Color in aTechnicolor print has much greater stability, partly because
    Technicolor prints are comparatively simple.8