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Hi everyone, I’m a developer working on the color science side of post-production, and I’m looking for some feedback from cinematographers on a tool I’ve been building. I’ve been trying to accurately reconstruct the Technicolor 3-Strip (Process IV) look in DaVinci Resolve as a DCTL Tool. I found that standard LUTs and RGB curves completely fail to capture how those vintage cameras actually responded to light, so I decided to build a mathematical model of the physical pipeline instead. I’ve created a DCTL that simulates the original photochemical process from capture to print. I’d love for anyone who frequently shoots or lights for vintage looks to throw some challenging footage at it and tell me how it responds to your exposure. Here is a quick breakdown of what the math is actually doing under the hood: The Camera Capture: It un-mixes the broad spectral overlap of modern digital sensors to approximate what light looked like passing through the original narrow-band Wratten #25, #58, and #47 filters inside the 3-strip prism. Subtractive Density: Instead of digital saturation (where colors get brighter), it uses the Beer-Lambert Law to simulate physical CMY dye absorption. If you push the saturation of a color, it physically gets denser/darker, just like a real imbibition print. Optical Scatter: It uses true Laplacian blur kernels for the light scatter/halation, rather than standard digital Gaussian blurs. I have a fully functional demo available, as well as a comprehensive PDF manual breaking down the history and physics of the camera and printer mechanics: https://nxcolor.com/3-strip I’m really curious to hear your thoughts on how this handles skin tones under different lighting temperatures, and if the halation/scatter feels optically authentic to you. Any technical critique is incredibly welcome! Thanks, Naveen

'Small Town Girl' 1953 Sample 3-Strip Dye Transfer Technicolor Clip D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Sample clip showing the ability of the Technicolor 3-Strip Dye Transfer process to reproduce a wide range of colors. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Although book is for dye transfer paper prints it gives a detailed rundown on the dye transfer process as it relates to color theory for 3 strip IB Technicolor movies. https://photographysgoldenageii.wordpress.com/2018/10/20/kodak-dye-transfer-process/

Someone told me that the original Star Wars had faded red and all that is left are digital copies. Do you think that is true? I imagine the dye transfer films should be pretty good for color. But what about the films that were not Technicolor IB? In my archive I have Kodachrome 16mm going back to 1939 that looks pretty good. I had read the early Kodachrome version faded. I've found a few early 1938 samples of Kodachrome that faded somewhat and they verify Kodak changed the formulation.

Great snapshot on technicolor. Beside how amazing technicolor was in its day, isn't it also amazing how so much work can go into a YT and how little likes it gets? The millennials hand out likes like they cost a million bucks each...huh.

For sale: Technicolor super 8 projector. This projector is compact in size and very simple to use. I have tested the projector and everything is working on this unit. It has very minor wear and engravings on the top of the projector and the side of the lens. The projector uses special cartridges allowing the projector to continuously loop the film (holds up to 4 mins. of film). Perfect for films you want to loop in a display set up, without having to rewind the film. I have 2 cartridges I will be including with the projector. Projector weighs about 12 lbs. (5.4 kg). Asking $35.00 US plus shipping

Saw the restored 35mm Technicolor print at the Museum of Modern Art, yesterday. Quite a nice experience. Considering the age of the print, the George Eastman House did an amazing job. I'd like to know the specific history of the print and I'm really surprised there's no information on the restoration on it. I e-mailed the George Eastman House in the hope of obtaining some. If it was indeed struck at the time the film was first released, it's a 76 year-old print. There was one scratch on the right side of the frame which lasted about 10 minutes, which made me think this print was most likely projected at one time or another. I also saw some color shifting within scenes, and some shots were a bit more faded than others, but all this could have been due to the age of the print. But that was more prevalent in the first 40 minutes of the film than anywhere else. The shots that blew me away - which made up the majority of the film - were the ones that featured crisp contrast and lush colors. Very sharp print, too. Overall, a great cinematic experience.