NATURAL COLOUR CINEMATOGRAPH
matter of importance. If it is not large enough, the yellows will have a greenish hue; if it is too wide, the green will be too dense and the red will be in excess, giving to the yellow an orange hue. If the red and green filters have been rightly balanced, the revolving disc will transmit to the screen a neutral white "colour."
When taking the negative photographs, the speed of film through the camera must be maintained, at 2 ft. per second, otherwise the object, when projected, will appear to move at an unnatural pace. Assuming a uniform rate of projection, increased speed of taking will cause an effect of abnormally slow motion in the projected pictures; while if the subject is taken too slowly, the projected images will show everything moving too fast.
In the projecting machine, at the moment when the red filter is opposite the lens, a monotone image taken through the green filter will be in the gate and be projected, and vice versa. The images following in this order at the high speed of thirty-two images per second, the combined effect upon the screen will be a picture reflecting not only red and, green, but also their complementary or accidental colours intermixed with many other hues resultant from the blending of the red and green proper.
An ideal process of natural colour cinematography would be that in which the three primary colours of the solar spectrum were embraced, taking the negative images through suitable colour filters and projecting positive images therefrom through yellow, blue and red filters; but the chemical, optical, and mechanical difficulties of doing this are extremely great.
185There is very little likelyhood that a person could spend more than a few minutes with this equipment and escape electrocution, blindness, or the loss of some body part.
Natural Colour Kinematograph Pictures
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