Film Stock & Process Resources

Started by WorldForgot, October 17, 2022, 12:02:58 AM

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WorldForgot

Happened upon this website which iz a treasure trove of film information. The material, alchemy and science.

Timeline of Historical Film Colors

QuoteThis database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptual predecessors.

Timeline of Historical Film Colors was started with Barbara Flueckiger's research at Harvard University in the framework of her project Film History Re-mastered, funded by Swiss National Science Foundation, 2011-2013.

In 2013 the University of Zurich and the Swiss National Science Foundation awarded additional funding for the elaboration of this web resource. 80 financial contributors sponsored the crowdfunding campaign Database of Historical Film Colors with more than USD 11.100 in 2012. In addition, the Institute for the Performing Arts and Film, Zurich University of the Arts provided a major contribution to the development of the database. Many further persons and institutions have supported the project, see acknowledgements.

Since February 2016 the database has been redeveloped in the framework of the research project Film Colors. Technologies, Cultures, Institutions funded by a grant from Swiss National Science Foundation. Since 2016, the team of the research project ERC Advanced Grant FilmColors has been collecting and adding written sources and photographs. All the members of the two research projects on film colors, both led by Barbara Flueckiger, have been capturing photographs of historical film prints since 2017.

Follow the links "Access detailed information ›" to access the currently available detail pages for individual processes. These pages contain an image gallery, a short description, a bibliography of original papers and secondary sources connected to  extended quotes from these sources, downloads of seminal papers and links. We are updating these detail pages on a regular basis.

for example, Eastman Color Print Film 5384

Early Applied Color book from the same project:
Film Farbe Fläche. Ästhetik des kolorierten Bildes im Kino 1895-1930. Generously supplied in full as pdf.

Film Preservation documents:
The Permanent Preservation of Color Motion Pictures

Can't currently wrap my head around whether any topic in this sub-forum already fits within what these resourcez imply; if somebody with more gearz turnin' in their noggin figurez they know where I should merge this plz do so or suggest it and I'll move the post. Or perhaps I can merge posts under this umbrella. Let me know ~ Stay creative!

wilder

FilmColors.org is an incredible visual and technical resource.

The site's subcategories contain thousands of scans of film strips, categorized according to process. For example:

Technicolor No. III

Technicolor No. IV: Three-strip

Technicolor No. V: Dye transfer prints from chromogenic negative


Many of these, like the scopitones Mother Nature Father Time (1965) and Web of Love (1966), appear to be unavailable outside of clips posted to vimeo (embedded below).

Quote from: Rossella CataneseThe music video's forerunners were the short musical films screened on the Cinebox and the Scopitone.

Both Scopitone and Cinebox were a form of visual jukebox, equipped with a screen showing 16mm films with magnetic soundtracks (COMMAG, or Combined Sound and Picture-Magnetic Sound Record). The terms Cinebox or Scopitone refer both to the films and to the devices, emphasizing the influence of these machines on the aesthetics they shaped.

In the USA the Scopitone quickly became successful. Directors like Robert Altman were commissioned to make these music films in Hollywood, and Francis Ford Coppola invested his own money as a producer. But soon Scopitone's fortunes faded – and Coppola lost his investment. At the end of the 1960s, Scopitone's distributors in the USA were mentioned in a federal investigation into organized crime, sparking a scandal which compromised the business. Its success collapsed as demand for its services declined – including machines, films and copyright fees. This decline was also due to its expensive maintenance, because of the frequent breakdowns caused by the fragility of the films and soundtracks, as well as the complex mechanisms and cogs inside.


















WorldForgot

Quote from: wilder on January 25, 2023, 01:21:17 AMFilmColors.org is an incredible visual and technical resource.

QuoteThis database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptual predecessors.


Many of these, like the scopitones Mother Nature Father Time (1965) and Web of Love (1966), appear to be unavailable outside of clips posted to vimeo (embedded below).

Quote from: Rossella CataneseThe music video's forerunners were the short musical films screened on the Cinebox and the Scopitone.

Both Scopitone and Cinebox were a form of visual jukebox, equipped with a screen showing 16mm films with magnetic soundtracks (COMMAG, or Combined Sound and Picture-Magnetic Sound Record). The terms Cinebox or Scopitone refer both to the films and to the devices, emphasizing the influence of these machines on the aesthetics they shaped.

In the USA the Scopitone quickly became successful. Directors like Robert Altman were commissioned to make these music films in Hollywood, and Francis Ford Coppola invested his own money as a producer. But soon Scopitone's fortunes faded – and Coppola lost his investment. At the end of the 1960s, Scopitone's distributors in the USA were mentioned in a federal investigation into organized crime, sparking a scandal which compromised the business. Its success collapsed as demand for its services declined – including machines, films and copyright fees. This decline was also due to its expensive maintenance, because of the frequent breakdowns caused by the fragility of the films and soundtracks, as well as the complex mechanisms and cogs inside.


Hey @wilder ! I made a post and a whole thread about this site in Filmmakers Workshop because it seems to be more of a 'resource' for filmmakers and enthusiasts than pure cinephile theory gab. Can we move your post over there if you think that's apropos?

wilder

I completely missed your post! Great find. Sure thing, will move.

WorldForgot

 :yabbse-cool: It's cool we both happened upon it!

Wasn't completely sure where a thing like this site goes - but it's certainly fantastic that they've set all this up with so many scans!