flueko-blog

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amazing alternative film print of [Kaleidoscope] in Kodachrome two-color, National Science and Media Museum Bradford. #filmcolors #avantgarde #1920s #abstract #animation compare to https://zauberklang.ch/filmcolors/galleries/kaleidoscope/

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Second International Conference, Colour in Film that will take place from 27-29 March, 2017 at BFI Southbank and Friends House, London. https://filmcolors.org/2017/02/13/cif2017/ #colors #film #london #erc

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Entangled!

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Night. #salk

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Day and night.

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A Colour Box (1935), Dufaycolor reversal color positive. Documented by Barbara Flueckiger in a joint project with BFI for her Timeline of Historical Film Colors.

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Nam June Paik. Beatles Electronique (1966-69, 3 min) scanning @NYC

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Detail from "Soir bleu" (1914) by Edward Hopper.

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Blue.

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La Vestale (FRA 1908, Albert Capellani). Stock date 1910. Credit: Courtesy of BFI National Archive. Photograph of the nitrate print by Barbara Flueckiger. http://zauberklang.ch/filmcolors/timeline-entry/1218/#La_Vestale_%281908%29

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Forbes Pigment Collection at Harvard Art Museum. Credit: Straus Center for Conservation and Technical Studies at the Harvard Art Museums. Photography: Barbara Flueckiger

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FilmColors reception for my new research teams ERC Advanced Grant | SNF Filmfarben http://filmcolors.org/2016/02/21/team/

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Colour Flight (GB 1937, Len Lye) in Gasparcolor

Credit: Courtesy of The Museum of Modern Art Department of Film.

HDR photographs by Barbara Flueckiger. http://zauberklang.ch/filmcolors/timeline-entry/1264/#Colour_Flight_%281937%29

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Top ten film colors and color conference @BFI London, March 2 and 3. Screening of many exciting films. http://www.bfi.org.uk/news-opinion/news-bfi/lists/10-best-film-colour-systems

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Posted by Criterion Collection.

Tinting 

For tinting, the positive print is immersed into a variety of dye baths, scene by scene. To this end, the print has to be cut into the corresponding fragments and reassembled after the dyeing process. The dye homogeneously attaches over the entire image’s gelatin including the perforation area. Usually acid dyes were dissolved in a weak acid solution to form a chemical bond with the gelatin.

Tinting can be identified by the brighter image parts which are colored uniformly while the darker parts remain black. Often, however, the dyes are fading or producing complex color alterations due to their chemical nature, or tinting is combined with toning which makes identification more difficult.

While there were some conventional metaphorical associations such as blue tinting for

night scenes or red tinting for fire, these associations were neither stable nor mandatory. Therefore it is necessary to analyze the color scheme in each individual film with regard to its narrative structure unfolding in space and time.

Credit: Copyright: Friedrich-Wilhelm-Murnau-Stiftung, Wiesbaden. Photograph by Barbara Flueckiger. Source: Archivo Nacional de la Imagen – Sodre, Montevideo/ Cineteca di Bologna. Film: Das Cabinet des Dr. Caligari (GER 1919, Robert Wiene).

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Clara Bow – IT girl from the 1920s – feeds a pelican in RED HAIR (USA 1928, Clarence G. Badger), Technicolor No. III. Credit: Library of Congress. HDR photographs of the nitrate print by Barbara Flueckiger, 2015. With huge thanks to Geo. Willeman and Mike Mashon New HDR photographs and many other Technicolor No. III pictures on the Timeline of Historical Film Colors: http://zauberklang.ch/filmcolors/timeline-entry/1300/

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Rainbow Dance (GB 1936, Len Lye). Credit: Courtesy of The Museum of Modern Art Department of Film. HDR photograph of the #Gasparcolor print by Barbara Flueckiger. #filmcolors #animation

Comparison of two Gasparcolor prints.

http://zauberklang.ch/filmcolors/timeline-entry/1264/#Rainbow_Dance_%281936%29