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Several animation films in Technicolor. Photographs by Barbara Flueckiger. Photograph by Barbara Flueckiger. The difference between this three-component process and the previous two-component process was truly extraordinary.

Not only was the accuracy of tone and color reproduction greatly improved, but definition was markedly better. However, we could not offer the three-component product to one customer without offering it to all, which required many more cameras, and the conversion of much of our plant. To allow time for this and to prove the process beyond any doubt, we sought first to try it out in the cartoon field.

But no cartoonist would have it.

We were told cartoons were good enough in black and white, and that of all departments of production, cartoons could least afford the added expense. Finally Walt Disney tried it as an experiment on one of his Silly Symphonies. This first attempt was the delightful Flowers and Trees, following which Disney contracted for a series.

Both the Disney Company and Technicolor were rather undersized at birth and in recent years both have grown rapidly in importance. A frequent conversation has been as to which helped the other most. Yer ought to see me now. But then there are the less tangible elements about, which there is much discussion. You all admit that it was marvelous entertainment. Now I will ask you how much more did it cost Mr. Disney to produce that entertainment in color than it would have in black and white?

A similar analogy can be drawn with respect to some part of almost any recent Technicolor feature. If a script has been conceived, planned, and written for black and white, it should not be done flash feu rouge suisse anti aging all in color.

The story should be chosen and the scenario written with color in mind from the start, so that by its use effects are obtained, moods created, beauty and personalities emphasized, and the drama enhanced. Color should flow from sequence to sequence, supporting and giving impulse to the drama, becoming an integral part of it, and not something superadded.

The production cost question should be, what is the additional cost for color per unit of entertainment and not per foot of negative.

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Early in Mr. Merian C. Cooper and Mr. John Hay Whitney began to show a practical interest in Technicolor. After thorough investigation of the Technicolor situation by Mr.

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Whitney and his associates, and as a result of many conferences, a contract was signed between Technicolor and Pioneer Pictures, Inc. There were some conditional clauses, among others a provision for extensive preliminary tests. Certain doubts remained in the minds of Whitney and his associates as to the performance of our three-component process under certain conditions.

Would the process reproduce the various shades of green in woodland and jungle? For one story they were considering a lead with very dark coloring and black hair.

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Would she photograph satisfactorily against light backgrounds? For another story they thought of placing a decided blonde in the leading part; how would she photograph against various backgrounds? What about make-up? What about the visibility of extremely small figures in the distance? An exhaustive sets of tests were made with results satisfactory to Flash feu rouge suisse anti aging.

Whitney and Mr. Then began the hunt for the first story to be produced. At one time Whitney told me they had given consideration to no less than two hundred stories.

While Mr. Whitney was searching, Pioneer Pictures made a very practical and complete test of the process by producing the picture La Cucaracha.

This short subject met with tremendous success. La Cucaracha, together with Silly Symphonies, caused a tremendous interest in three-component Technicolor.

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The industry was now waiting to see what the first Whitney feature production would be like. Meantime Technicolor business was improving. Positive film shipments for the first six months of were double what they were for the first six months of Appropriation was made to increase the number of cameras under construction from three to seven.

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The first test of the three-component demonstrasi mahasiswa yg proti stárnutí flash feu rouge suisse anti aging a very large set was for Twentieth Century Fox on the closing sequence of The House of Rothschild.

Since Whoopee in Mr. Goldwyn and I had talked regularly each year about another picture in Technicolor, so that on one occasion Eddie Cantor asked me if I were coming for my annual ritual. This time it was the closing sequence in his Cantor picture, Kid Millions, which was another important early three-component insert.

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No account of Technicolor adventures in the realm of producers would be complete without affectionate mention of Mr. Andrew J. He was a Vice-President of the company, active in sales and studio contacts through our most troublous times.

Whitney and his Pioneer Pictures associates finally settled on Becky Sharp as their first production of the series of eight. Becky was a champion for hard luck.

The original director, Lowell Sherman, was taken ill and died during the period of photographing. He was succeeded by Rouben Mamoulian. Unusual difficulty was encountered in the sound recording so that Mr.

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Whitney found himself in the ironically anomalous position of having produced the first three-component Technicolor feature, of having surmounted all the hazards of color, yet being in difficulty with an aspect of the work which he had naturally taken for granted.

A very interesting and important adventure in the history of Technicolor development was the organization of a British affiliate, Technicolor, Ltd. The first Technicolor feature picture photographed in England was Wings of the Morning, a race-track story flash feu rouge suisse anti aging has had very successful distribution throughout the world.

This production was produced before flash feu rouge suisse anti aging London laboratory was built, and was serviced from Hollywood. Flash feu rouge suisse anti aging the British laboratory was built at West Drayton, just outside of London where it flash feu rouge suisse anti aging now regularly operating to service British made productions and prints of American made productions for distribution in the United Kingdom.

Alexander Korda has been outspoken in his enthusiasm for color, as evidenced by a series of pictures which he has produced, including the current release Drums. He is now planning an all-Technicolor series of pictures, of which the first is The Four Feathers, at present being photographed in the Sudan.

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Generally speaking, these pictures have been extraordinarily well received, some of them having broken attendance records in many parts of the world. Thus Technicolor has met the second great rush into color with steadily improving quality of its product and a broadening range of service. It is the purpose of Technicolor, during the time that prints of any picture are being manufactured in its plant, to hold the laboratory open for and at the disposal of the customer as if it were his own.

His representative may inspect each of his prints and any changes suggested will be undertaken if practicable.

To do this he simply moves into the inspection room where each print before shipment is compared by simultaneous projection with a standard print approved by the customer for the purpose. William Wellman who has directed more three-component Technicolor pictures than any other individual, all of them successes, namely, A Star Is Born, Nothing Sacred, and Men With Wings, has said repeatedly of Technicolor photography that he takes it in his stride, at substantially the same number of setups per day as black and white.

It is noteworthy that most of the camera work is now done by cameramen in the direct employ of the studios. Broadly considered, this recent array of feature pictures is of such a late date that it is flash feu rouge suisse anti aging early to render a verdict based upon any sort of generalization with respect to them.

Looking ahead, Technicolor has contracts for about forty feature-length productions spread among most of the outstanding producers, constituting a very substantial volume of business.

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