#SEPARATION STUDIO PROOF IS BLACK MOVIE#
#SEPARATION STUDIO PROOF IS BLACK FULL#
#SEPARATION STUDIO PROOF IS BLACK REGISTRATION#

You wouldn't get registration and detail anything like with large format film, and close-up would have an alignment problem, but it would be fun and doable without needing to resort to anything digital. A simpler route would be to find three pin registered old Nikon bodies designed for the AV trade, and simply align them to the same infinity point, each with its own color separation filter, and something like TMax inside.

A few people have actually upgraded old Devin and Curtis cameras in that manner, taking advantage of Hoya's industrial division. I have no idea whether the original poster of this thread had actual color images in mind, or artificial colorization possibilities.īut if one had a lot of money or serious machine shop skills, they could make their own modernized tricolor camera using a coated prism instead of pellicles, and with inline coated glass filters instead of sandwiched gels. Of Ultrastable and an exceptional carbro printer, were excellent at it, which is saying quite a bit since early color neg film could have a rather miserable color palette at times. Some, like Richard Kauffman, the co-inventor

Otherwise, separations can be made from either chromes or color negs, though doing so with color negs pre-scanning days was quite a challenge. Much of the use of such cameras PREDATES modern slide or chrome films, though they partially overlapped the early Kodachrome era. A single lens was involved, and the image split three different ways via pellicle mirrors. They obviously made other things too, The Curtis method involved three different sheet film holders in the same camera which were exposed them all at the same time using R, G, and B color gel separation filters slid atop the film itself. What current black and white film would they use anyway, for that? There are dedicated Hollywood technical sites for those kinds of preservation issues, and no doubt certain trade secrets too.īill, those posted objects have no relation to Curtis tricolor cameras anyway. But retro-separations from an entire movie? The problem with separations, however, is that they ideally need to be matched to a specific printing method - and nobody knows what that might be in some future sense the 'archival preservation' has in mind. The folks you're referencing should send it off to Jim Browning to make the separations using his advanced film recording device. Pretty easy using modern scanners and output, a lot more complicated if trying to replicate the sheer hue purity of actual dye transfer techniques, which Technicolor was a form of.

#SEPARATION STUDIO PROOF IS BLACK FULL#

But he never could market those because there was a right's dispute who actually owned the rights to those old shots - the big Studios themselves, or that assistant personally given them by the original photographer.Īs far as generating new still form old Technicolor triple frames themselves, or the full triple sandwich, similar issues. Only when PS developed a snap alignment feature could fresh prints be made and then it was via inkjet. The problem was those old negs were made on dimensionally unstable acetate film, and proved impossible to re-register for later dye transfer printing purposes. They had their own in-house dye transfer still printing operation, not just the moving image side of it.

#SEPARATION STUDIO PROOF IS BLACK MOVIE#

About 20 yrs ago I had a former assistant to a notable Hollywood photographer visit my office several time both with 5X7 Kodachromes of famous actors and actresses of the 40's and 50's, still vivid, but also many sets of 5X7 tricolor camera studio negatives which Technicolor used to make their big advertising stills for movie promotion.

Separation studio proof is black