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Routine studio Technicolor photography has long since passed the experimental stage. It is now handled with the same efficiency and dispatch as many black-and-white units. The negative is developed at night and the negative reports, negative clippings, and estimated printer points are delivered to the Technicolor cameraman on the set the following morning. Black-and-white rush prints, if ordered, are generally delivered the following afternoon, and the color rush prints are delivered the following evening.

The negative reports and all laboratory contacts are handled for the cameraman through the Technicolor camera department, which also checks the daily log sheets, and by these log sheets keeps a very complete record of every production and of every scene photographed on that production. The records have proved invaluable, not only to the cameraman, but on many occasions to the director and others participating in the production. This most excellent coordinating agency is extremely valuable.

Further production flexibility would be available if a single film capable of being exposed in any ordinary black-and-white camera could be used for a full color record. Technicolor's Research Laboratory has spent many years in the development of a monopack type of film that would fulfill this requirement. Progress on the project was reported by Dr. Herbert T. Kalmus, President of Technicolor Motion Picture Corporation, to its stockholders in his Annual Report for 1940, as follows:

"Your company's research engineers have also been engaged in cooperation with Eastman Kodak Company on a process of photography employing a single negative or monopack instead of the three strips, and on which three emulsions are superimposed on a single support. Your company's officers and technicians are frequently asked when Technicolor monopack prints will be available. Their current interest in the monopack process is not primarily for release prints because the triple-layer raw film appears inherently to be so expensive that it could hardly compete in cost with Technicolor imbibition prints in the long run.

"But your company's officers and engineers do believe that monopack will be developed to be satisfactory for use as originals from which Technicolor imbibition prints can be made. Such an original could be exposed through any standard black-and-white motion picture camera and should thus have mechanical and cost advantages over three-strip negative.

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