December 2004
Millimeter;Dec2004, Vol. 32 Issue 12, p7
Entertainment Review
The article presents information on the movie "The Aviator." When Martin Scorsese first decided it would be, in his words, "interesting to explore" ways to bake the visual color sense of the old Technicolor two-strip and three-strip dye-transfer processes into his new movie "The Aviator," one of his first conversations about how to do it was with "Titanic's" Academy Award-winning visual effects supervisor, Rob Legato. Legato eventually got in touch with color scientists at Technicolor" the company that would later handle "The Aviator" digital intermediate.


Related Articles

  • The Reproduction of Colour: - Latent Image Fading and Batch Control. Harcourt, Tony // Image Technology;Jul/Aug1999, Vol. 81 Issue 7, p24 

    The article presents the seventh part in a series of papers from the British Kinematograph, Sound and Television Society concerning training in the reproduction of color in television and motion pictures. Topics discussed include image capture, latent image fading, strip testing and batch to...

  • TECHNICAL ABSTRACTS.  // Journal of the British Kinematograph Society;May/Jun1947, Vol. 10 Issue 3, p127 

    This section presents abstracts of research on cinematography. They include "A Color Process Which May Rival Technicolor," "Maltese Cross With Compensated Acceleration," and "British Tricolour Process."

  • La sortie du laboratoire ou les stratégies d'exploitation du procédé trichrome de cinématographie en couleurs de la Société des Établissements Gaumont (1913-1921). Pranchère, Victor // 1895;hiver2013, Issue 71, p61 

    This article deals with the operating strategy of the three-colour process developed by the Gaumont company as early as 1909 and used commercially from 1913 to 1921. The limited commercial exploitation starting in 1913, contrasting with the industrial use of the process that was then announced,...

  • Technicolor celebrates 90 years of cinematic innovation. Basten, Fred E. // MovieMaker;Spring2006, Vol. 13 Issue 62, p104 

    The article highlights the illustrious history of Technicolor Inc., one of the pioneers of colored motion pictures. The company has been the pioneer in various innovations and the development of cinematographic techniques in the motion picture industry. The development of various techniques and...

  • CURRENT PROCESSES OF COLOUR KINEMATOGRAPHY. Coote, Jack H. // Journal of the British Kinematograph Society;Oct-Dec1946 Supplement, Vol. 9, p15 

    The article focuses on the processes of color cinematography. The Dufaycolor process uses an ordinary single film camera for shooting color motion pictures and is advantageous in lower levels of illumination. The technicolor process involves a three-film camera that are capable of shooting 96...

  • Colour Film Restoration & Preservation. Lobban, Grant // Image Technology;Oct/Nov2006, Vol. 88 Issue 5, p40 

    The article focuses on the restoration and preservation of color films. An explanation of when dyes start to fade is given and information on the Technicolor dye-transfer process is presented. The replacement of the lost color using a separate color mask is discussed and the demand for wartime...

  • The Color-Space Conundrum. Banskton, Douglas // American Cinematographer;Jan2005, Vol. 86 Issue 1, p88 

    Explores the historical relevance of color space and its impact on the work of a cinematographer in the U.S. Importance of understanding and defining what the tone-scale and color-space parameters are for the different platforms cinematographers are dealing with; Definition of color space;...

  • TIME MACHINE 1939. Trimble, Tyghe // Popular Mechanics;Jan 2007, Vol. 184 Issue 1, p24 

    The article reports on the Technicolor innovation of 1939, which introduced dazzling tricks to images. Though digital effects now can turn a blue background into a dazzling computer-generated landscape, the Technicolor innovation of yesteryears was a sensational one. Each scene was shot with...

  • Le naturel et le méanique: le Kinémacolor à la conquête de Paris, ou Charles Urban vs Charles Pathé. Turquety, Benoît // 1895;hiver2013, Issue 71, p81 

    Kinemacolor is the first commercially exploited process of « natural colour » cinematography. Pathécolor is the industrial system of applied colour established by Pathé, then the dominant producer of coloured film. Both systems are in fact contemporaneous, having appeared around...


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics