Editing 35 mm movie film (section)

===Color===
{{Main|Color motion picture film}}
Originally, film was a strip of cellulose nitrate coated with black-and-white [[photographic emulsion]].<ref name="hone" /> Early film pioneers, like [[D. W. Griffith]], color [[film tinting|tinted or toned]] portions of their movies for dramatic impact, and by 1920, 80 to 90 percent of all films were tinted.<ref>{{cite book |last=Koszarski |first=Richard |title=An Evening's Entertainment: The Age of the Silent Feature Picture, 1915–1928 |url=https://books.google.com/books?id=PLUbxH1_PREC |date=May 4, 1994 |publisher=University of California Press |isbn=978-0-520-08535-0 |page=127}}</ref> The first successful natural color process was Britain's [[Kinemacolor]] (1909–1915), a two-color additive process that used a rotating disk with red and green filters in front of the [[camera lens]] and the projector lens.<ref name=":2">{{Cite book |last=McKernan |first=Luke |title=Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897-1925 |publisher=University of Exeter Press |year=2018 |isbn=978-0859892964}}</ref><ref>{{cite book |last=Robertson |first=Patrick |title=Film Facts |url=https://books.google.com/books?id=4PnEvNC_F9oC |date=September 1, 2001 |publisher=[[Billboard Books]] |location=New York |isbn=978-0-8230-7943-8 |page=166}}</ref><ref>{{cite web |last=Hart |first=Martin |year=1998 |url=http://www.widescreenmuseum.com/oldcolor/kinemaco.htm |title=Kinemacolor: The First Successful Color System |website=[[Widescreen Museum]] |access-date=July 8, 2006}}</ref> But any process that photographed and projected the colors sequentially was subject to color "fringing" around moving objects, and a general color flickering.<ref>{{cite web |last=Hart |first=Martin |date=May 20, 2004 |url=http://www.widescreenmuseum.com/oldcolor/kinemacolortoeastmancolor.htm |title=Kinemacolor to Eastmancolor: Faithfully Capturing an Old Technology with a Modern One |website=Widescreen Museum |access-date=July 8, 2006}}</ref>

In 1916, William Van Doren Kelley began developing [[Prizma]], the first commercially viable American color process using 35&nbsp;mm film. Initially, like Kinemacolor, it photographed the color elements one after the other and projected the results by [[additive color|additive synthesis]]. Ultimately, Prizma was refined to [[bipack]] photography, with two strips of film, one treated to be sensitive to red and the other not, running through the camera face to face. Each negative was printed on one surface of the same [[Duplitized film|duplitized print stock]] and each resulting series of black-and-white images was chemically toned to transform the silver into a monochrome color, either orange-red or blue-green, resulting in a two-sided, two-colored print that could be shown with any ordinary projector. This system of two-color bipack photography and two-sided prints was the basis for many later color processes, such as [[Multicolor]], [[Brewster Color]] and [[Cinecolor]].

Although it had been available previously, color in Hollywood feature films first became truly practical from the studios' commercial perspective with the advent of [[Technicolor]], whose main advantage was quality prints in less time than its competitors. In its earliest incarnations, Technicolor was another two-color system that could reproduce a range of reds, muted bluish greens, pinks, browns, tans and grays, but not real blues or yellows. ''[[The Toll of the Sea]]'', released in 1922, was the first film printed in their subtractive color system. Technicolor's camera photographed each pair of color-filtered frames simultaneously on one strip of black-and-white film by means of a [[beam splitter]] prism behind the camera lens. Two prints on half-thickness stock were made from the negative, one from only the red-filtered frames, the other from the green-filtered frames. After development, the silver images on the prints were chemically toned to convert them into images of the approximately [[complementary color]]s. The two strips were then cemented together back to back, forming a single strip similar to duplitized film.

In 1928, [[Technicolor]] started making their prints by the imbibition process, which was mechanical rather than photographic and allowed the color components to be combined on the same side of the film. Using two matrix films bearing hardened gelatin relief images, thicker where the image was darker, aniline color dyes were transferred into the gelatin coating on a third, blank strip of film.

Technicolor re-emerged as a three-color process for [[cartoons]] in 1932 and [[live action]] in 1934. Using a different arrangement of a [[beam-splitter]] cube and color filters behind the lens, the camera simultaneously exposed three individual strips of black-and-white film, each one recording one-third of the [[visible spectrum|spectrum]], which allowed virtually the entire spectrum of colors to be reproduced.<ref name="widetech">{{cite web |last=Hart |first=Martin |year=2003 |url=http://www.widescreenmuseum.com/oldcolor/technicolor1.htm |title=The History of Technicolor |website=Widescreen Museum |access-date=July 7, 2006}}</ref> A printing matrix with a hardened gelatin relief image was made from each negative, and the three matrices transferred color dyes into a blank film to create the print.<ref>{{cite book |last=Sipley |first=Louis Walton |year=1951 |title=A Half Century of Color |publisher=The Macmillan Company |location=New York}}</ref>

Two-color processes, however, were far from extinct. In 1934, William T. Crispinel and Alan M. Gundelfinger revived the [[Multicolor]] process under the company name [[Cinecolor]]. Cinecolor saw considerable use in animation and low-budget pictures, mainly because it cost much less than three-color Technicolor. If color design was carefully managed, the lack of colors such as true green could pass unnoticed. Although Cinecolor used the same duplitized stock as Prizma and Multicolor, it had the advantage that its printing and processing methods yielded larger quantities of finished film in less time.

In 1950, Kodak announced the first Eastman color 35&nbsp;mm negative film (along with a complementary positive film) that could record all three primary colors on the same strip of film.<ref>{{cite web|work=Kodak |title=Chronology of Motion Picture Films 1940 to 1959 |url=http://motion.kodak.com/US/en/motion/Products/Chronology_Of_Film/chrono2.htm |access-date=August 12, 2009 |archive-url=https://web.archive.org/web/20090625062139/http://motion.kodak.com/US/en/motion/Products/Chronology_Of_Film/chrono2.htm |archive-date=June 25, 2009 |url-status=dead }}</ref> An improved version in 1952 was quickly adopted by Hollywood, making the use of three-strip Technicolor cameras and bipack cameras (used in two-color systems such as [[Cinecolor]]) obsolete in color cinematography. This "monopack" structure is made up of three separate emulsion layers, one sensitive to red light, one to green and one to blue.