Process photography in Technicolor is now largely a matter of routine. The scenes selected for process work are, of course, subject to the usual limitations for that type of work, but astonishing results have been obtained. Progress in this field can be largely attributed to two factors: improvement in plate quality, and improvements in background projector equipment. As Technicolor production film is processed day by day the technical crews improve in skill and the research groups add their contributions, to the end that the process plates now furnished to the studios are specially printed for the optimum contrast, color-quality, and density required for this type of work. The equipment combinations of each studio have been photographically tested for color-balance, and this color-balance is also taken into account when the plates are printed.
It has been found that background projectors vary appreciably in the color-quality of the projected light. Generally speaking, the projectors using reflectors have a little more blue in the light than the condenser projectors, although this color-quality varies appreciably depending upon the condition of the reflector and the nature of its surface, or upon the glass used in the particular condenser set-up in use. Some condenser lenses have a very pronounced yellowish cast that is not very desirable for color work.
There has been appreciable pressure in the last few years aimed at increasing the background projector outputs. The present high outputs have resulted from improvements in carbons, objective lenses, projector optics behind the objective lens, and lamp house, and in the successful combination of several projectors for throwing superimposed, matched, and synchronized images onto the process screen. Astonishing progress has been made toward increased output, and fortunately these developments reached the point where they were incorporated into production equipment before the present war appreciably curtailed progress in this line.
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