The Prizma Color system was a color motion picture process, invented in 1913 by William Van Doren Kelley and Charles Raleigh. Initially, it was a two-color additive color system, similar to its predecessor, Kinemacolor. However, Kelley eventually transformed Prizma into a bi-pack color system that itself became the predecessor for future color processes such as Multicolor and Cinecolor.
Prizma gave a demonstration of color motion pictures in 1917 that used an additive four-color process, using a disk of four filters acting on a single strip of panchromatic film in the camera. The colors were red, yellow, green, and blue, with overlapping wavelengths to prevent pulsating effects on the screen with vivid colors. The film was photographed at 26 to 32 frames per second, and projected at 32 frame/s. The disk used in projection consisted mainly of two colors, red-orange and blue-green, adapted to the four-color process by the superimposition of two small magenta filters over one of the red sectors and two similar blue filters over one of the blue-green sectors. [1] [2] Motion Picture News reported,
The first commercial system of Prizma was similar to Kinemacolor in that the camera took alternating frames of red-orange and blue-green colors through color filters placed within the camera's shutter. Projection involved running a colored disc again in synchronization with the black and white color record film, and through persistence of vision, the two frames combined on the screen to form a color image.
The first film shown in Prizma color was the feature Our Navy at the 44th Street Theatre in New York City on 23 December 1917. General reception to the system was positive, but the rotating filter wheel technique proved impractical. To counteract the issue of having a special projector with a filter wheel, Kelley began tinting alternate frames of his film red and green. However, fringeing, flicker, and light loss were major issues which plagued not only Prizma, but also all of the other additive systems of the Kinemacolor nature.
In counteracting this, Kelley had filed a patent in February 1917 which proved to be the foundation of Prizma's second color system.
On 28 December 1918, Kelley announced that Prizma would release a color film (usually a short) every week, a film which would be projectable on any standard projector. Kelley's idea was two years in the making, but was a valid one which became the springboard for all future color systems to follow — two films were filmed simultaneously with a camera of his own design. One strip was sensitive to red-orange, the other to blue-green (cyan). Both negatives were processed and printed on duplitized film, and then each emulsion was toned its complementary color, red or blue. The final result was a color image that was subtractive in nature — no flicker and a bright projection. But as a result of the way the camera was designed, a constant fringe was apparent, as the strips were being recorded side-by-side.
In January 1919, this new process was premiered at the Rivoli Theatre in New York City with the short Everywhere With Prizma. Kelley, based in Jersey City, New Jersey, was a friend of the Rivoli's manager and music director Hugo Riesenfeld and so did business with Samuel Roxy Rothafel's Roxy Theaters chain, which the Rivoli was part of.
In February 1921, another Prizma film, Bali, the Unknown was premiered at Roxy's Capitol Theatre in New York. The four-reel feature garnered lukewarm reviews, but enough positive audience response that more films were produced in the system.
The Prizma process only took off in 1922, when J. Stuart Blackton of Vitagraph Studios shot his feature film The Glorious Adventure in Prizma. The film, starring Diana Manners and Victor McLaglen, premiered in April 1922 to lukewarm success in the US, but much appeal in the UK. With the prestige of a Vitagraph production, Prizma was considered the apex of color photography at that point in motion picture producers' minds.
Prizma sued the Technicolor Corporation in September 1922 on the grounds that Technicolor was infringing upon Prizma's patents. However, Prizma eventually lost the case.
In April 1923, Robert Flaherty took both a black-and-white camera and a Prizma color camera to Samoa, hoping to film part of his documentary film Moana (1925) in that process, but the Prizma camera malfunctioned and no color footage was shot. (Moana became famous as the second feature film shot using panchromatic black-and-white film rather than orthochromatic.)
With Harry K. Fairall and Robert F. Elder's 3D feature, The Power of Love , opening 27 September 1922 in Los Angeles and the December 1922 unveiling of Laurens Hammond's Teleview system in New York City, Kelley used his Prizma camera for stereoscopic purposes. As his camera took side-by-side pictures, Kelley mounted a set of prisms on his rig, thus expanding his point of convergence, and utilized his red/blue color system to make an anaglyphic print of his product. His final product was the first of Kelley's Plasticon Pictures entitled Movies of the Future, which was premiered at the Rivoli on 24 December 1922. The film consisted largely of shots of New York City, including Times Square, the New York Public Library, and Luna Park.
Based on the success of Movies of the Future, Kelley had his chief photographer, William T. Crispinel, shoot another short film entitled Through the Trees — Washington D.C. in the spring of 1923. The film was not shot with the Prizma rig — which was being used by Flaherty in Samoa — but with one designed by Frederic E. Ives, a technician specializing in 3D photography. Although the short was technically shot better, Riesenfeld rejected it because it did not have the 3D gimmicks that the recent films of that nature included.
The last few years of Prizma were somewhat fruitful. Samuel Goldwyn produced Vanity Fair (1923) in Prizma, and D. W. Griffith utilized the process in a couple of his films, including a scene in Way Down East (1920). Flames of Passion (1922), directed by Graham Cutts and starring Mae Marsh and C. Aubrey Smith; The Virgin Queen (1923), directed by J. Stuart Blackton; and I Pagliacci (1923), co-starring Lillian Hall-Davis, were all UK productions with one reel filmed in Prizma.
One of the last films using Prizma was Venus of the South Seas (1924), starring Annette Kellerman, where Prizma was used for one reel of a 55-minute film. Venus was restored by the Library of Congress in 2004.
In 1928, Prizma was bought by Consolidated Film Industries and was reintroduced as Magnacolor (and later Trucolor). Kelley, who held many patents in color photography, sold his patents and equipment to Cinecolor, which benefited from Kelley's advanced printing techniques. Ironically, Cinecolor was co-founded by Kelley's former photographer, William T. Crispinel.
35 mm film is a film gauge used in filmmaking, and the film standard. In motion pictures that record on film, 35 mm is the most commonly used gauge. The name of the gauge is not a direct measurement, and refers to the nominal width of the 35 mm format photographic film, which consists of strips 1.377 ± 0.001 inches (34.976 ± 0.025 mm) wide. The standard image exposure length on 35 mm for movies is four perforations per frame along both edges, which results in 16 frames per foot of film.
The following list comprises significant milestones in the development of photography technology.
Additive color or additive mixing is a property of a color model that predicts the appearance of colors made by coincident component lights, i.e. the perceived color can be predicted by summing the numeric representations of the component colors. Modern formulations of Grassmann's laws describe the additivity in the color perception of light mixtures in terms of algebraic equations. Additive color predicts perception and not any sort of change in the photons of light themselves. These predictions are only applicable in the limited scope of color matching experiments where viewers match small patches of uniform color isolated against a grey or black background.
Color photography is photography that uses media capable of capturing and reproducing colors. By contrast, black-and-white or gray-monochrome photography records only a single channel of luminance (brightness) and uses media capable only of showing shades of gray.
The RG or red–green color space is a color space that uses only two primary colors: red and green. It was used on early color processes for films.
Panchromatic emulsion is a type of black-and-white photographic emulsion that is sensitive to all wavelengths of visible light.
Kinemacolor was the first successful colour motion picture process, used commercially from 1908 to 1914. It was invented by George Albert Smith in 1906. He was influenced by the work of William Norman Lascelles Davidson and, more directly, Edward Raymond Turner. It was launched by Charles Urban's Urban Trading Co. of London in 1908. From 1909 on, the process was known and trademarked as Kinemacolor. It was a two-colour additive colour process, photographing and projecting a black-and-white film behind alternating red and green filters.
Cinecolor was an early subtractive color-model two-color motion picture process that was based upon the Prizma system of the 1910s and 1920s and the Multicolor system of the late 1920s and the 1930s. It was developed by William T. Crispinel and Alan M. Gundelfinger, and its various formats were in use from 1932 to 1955.
Leopold Godowsky Jr. was an American violinist and chemist, who together with Leopold Mannes created the first practical color transparency film, Kodachrome.
The Handschiegl color process produced motion picture film prints with color artificially added to selected areas of the image. Aniline dyes were applied to a black-and-white print using gelatin imbibition matrices.
Multicolor is a subtractive two-color motion picture process. Multicolor, introduced to the motion picture industry in 1929, was based on the earlier Prizma Color process, and was the forerunner of Cinecolor.
Color motion picture film refers both to unexposed color photographic film in a format suitable for use in a motion picture camera, and to finished motion picture film, ready for use in a projector, which bears images in color.
Trucolor was a color motion picture process used and owned by the Consolidated Film Industries division of Republic Pictures. It was introduced as a replacement for Consolidated's own Magnacolor process.
Duplitized film was a type of motion picture print film stock used for some two-color natural color processes. It was introduced by Eastman Kodak around 1913. The stock was of standard gauge and thickness, but it had a photographic emulsion coated on both sides of the film base instead of on one surface only.
Leopold Damrosch Mannes was an American musician, who, together with Leopold Godowsky Jr., created the first practical color transparency film, Kodachrome.
A field-sequential color system (FSC) is a color television system in which the primary color information is transmitted in successive images and which relies on the human vision system to fuse the successive images into a color picture. One field-sequential system was developed by Dr. Peter Goldmark for CBS, which was its sole user in commercial broadcasting. It was first demonstrated to the press on September 4, 1940, and first shown to the general public on January 12, 1950. The Federal Communications Commission adopted it on October 11, 1950, as the standard for color television in the United States, but it was later withdrawn.
In bipack color photography for motion pictures, two strips of black-and-white 35 mm film, running through the camera emulsion to emulsion, are used to record two regions of the color spectrum, for the purpose of ultimately printing the images, in complementary colors, superimposed on one strip of film. The result is a multicolored projection print that reproduces a useful but limited range of color by the subtractive color method. Bipack processes became commercially practical in the early 1910s when Kodak introduced duplitized film print stock, which facilitated making two-color prints.
Technicolor is a series of color motion picture processes, the first version dating back to 1916, and followed by improved versions over several decades.
The history of film technology traces the development of techniques for the recording, construction and presentation of motion pictures. When the film medium came about in the 19th century, there already was a centuries old tradition of screening moving images through shadow play and the magic lantern that were very popular with audiences in many parts of the world. Especially the magic lantern influenced much of the projection technology, exhibition practices and cultural implementation of film. Between 1825 and 1840, the relevant technologies of stroboscopic animation, photography and stereoscopy were introduced. For much of the rest of the century, many engineers and inventors tried to combine all these new technologies and the much older technique of projection to create a complete illusion or a complete documentation of reality. Colour photography was usually included in these ambitions and the introduction of the phonograph in 1877 seemed to promise the addition of synchronized sound recordings. Between 1887 and 1894, the first successful short cinematographic presentations were established. The biggest popular breakthrough of the technology came in 1895 with the first projected movies that lasted longer than 10 seconds. During the first years after this breakthrough, most motion pictures lasted about 50 seconds, lacked synchronized sound and natural colour, and were mainly exhibited as novelty attractions. In the first decades of the 20th century, movies grew much longer and the medium quickly developed into one of the most important tools of communication and entertainment. The breakthrough of synchronized sound occurred at the end of the 1920s and that of full color motion picture film in the 1930s. By the start of the 21st century, physical film stock was being replaced with digital film technologies at both ends of the production chain by digital image sensors and projectors.
Brewster Color was an early subtractive color-model film process.