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Movies for TV - Early Television Foundation

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COLOR 775<br />

color film is seldom used <strong>for</strong> television or semi-professional 16<br />

mm work. The integral tripack film is so much more convenient<br />

and easy.<br />

Kodachrome<br />

The best known film <strong>for</strong> color work is probably Kodachrome,<br />

followed closely by Ansco Color. Both films can be obtained <strong>for</strong><br />

daylight and artificial light use. Kodachrome "commercial" posi-<br />

tive film is described as "commercial" stock because it is used <strong>for</strong><br />

making films which have to be duplicated a number of times; it<br />

produces a low contrast positive color image. Kodachrome and<br />

Ansco Color both are reversal films and work the same way as do<br />

the ordinary black and white reversal film except that they are<br />

more complicated.<br />

"Commercial" film consists of three layers of emulsions, the<br />

bottom is red-sensitive, the top blue-sensitive, and the middle<br />

green-sensitive. Between the blue and green emulsion is a yellow<br />

filter to prevent blue from reaching the other layers. Due to the<br />

built-in filter effect, three images are produced, each one lacking<br />

some colors: the bottom image, on the red-sensitive emulsion, is<br />

cyan (minus red) ; the middle is a magenta (minus green) ; and<br />

a yellow image is on the top layer.<br />

Reversal Kodachrome Type A and daylight films are similar<br />

in principle. The only difference between the two emulsions is in<br />

the fact that daylight is balanced <strong>for</strong> sunlight exposure and Type<br />

A <strong>for</strong> use with photoflood lamps and other <strong>for</strong>ms of artificial light.<br />

These films also use the subtractive method <strong>for</strong> color production.<br />

The emulsions are the same as <strong>for</strong> "commercial." The treatment<br />

during development is also similar. After the initial development<br />

when some fine emulsion grains still remain undeveloped, the film<br />

is exposed to white light in the same way as black and white re-<br />

versal film. A special dye is present in the developer <strong>for</strong> each layer<br />

in this second development. This <strong>for</strong>ms three different colored<br />

layers. The same sequence of color layers is present and when<br />

light is projected through the film the various minus colors, cyan

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