#Cinecolor

[marchharedraws]

Art trade with @bakertoons of his wonderful titular character of his comic Lauren Ipsum!

[thinkbolt]

Betty Boop in Poor Cinderella (Fleischer, 1934)

Fleischer's first color cartoon (in 2-color process Cinecolor) and Betty Boop's ONLY color cartoon in the Fleischer era. Notice her hair is RED and her eyes are BLUE!

[voktapi]

Синеколо́р (англ.Cinecolor) — ранняя технология цветного кинематографа, основанная на субтрактивном синтезецвета из двух цветов: красного и сине-зелёного. Процесс основан на виражной технологии, применявшейся в системе «Мультиколор» 1929 года, ведущей своё происхождение от двухцветной системы «Призма». «Синеколор» разработан кинематографистом английского происхождения Уильямом Креспинелом (англ.William T. Crespinel), основавшим корпорацию «Кинемаколор» (англ.Kinemacolor) в 1906 году. Американская корпорация «Синеколор» (англ.Cinecolor) основана им же в 1932 году в противовес монополии «Техниколора»[1] на кинорынке. «Синеколор» и «Техниколор», начиная с конца 1920-х годов были самыми популярными технологиями цветного кино.

[dreg-heap]

Jisei album release 5/18

[foundfilmphoto]

[ao3feed-fengqing]

congee kittens and the craft of convergence

by yixiangs Feng Xin catches a fever. Too bad the only person here to look after him is his irritable, annoying, heart-rending (and secretly very endearing) roommate, Mu Qing. Feng Xin looks up at him, flicking his gaze between Mu Qing’s face and the floor tiles beneath him. Through his wobbly vision he thinks he sees Mu Qing’s expression melt into something more lenient, like the cinecolor glow of late afternoon amber is eating itself and warping into an illusion that paints him in a softer light, ameliorating his edges. “Well.” “Don’t ‘well’ me.” Mu Qing folds his arms across the chest, the perfunctory scowl plastered back on his face. “Why didn’t you tell me you were sick?” Words: 5589, Chapters: 1/1, Language: English Fandoms: 天官赐福 - 墨香铜臭 | Tiān Guān Cì Fú - Mòxiāng Tóngxiù Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Categories: M/M Characters: Feng Xin (Tian Guan Ci Fu), Mu Qing (Tian Guan Ci Fu) Relationships: Feng Xin/Mu Qing (Tian Guan Ci Fu) Additional Tags: Alternate Universe - Modern Setting, Sickfic, Hurt/Comfort, Fluff, fengqingaction Twitter's Fengqing Gotcha for Gaza Event (Tian Guan Ci Fu), Mutual Pining via https://ift.tt/d2ecOhE

[dailylooneys]

Happy 118th Birthday Arthur Davis (1905 - 2000)

One of the most underrated cartoon directors at Warner Bros. own Termite Terrace.

Davis first started at WB as one of Frank Tashlin’s animators up until Tashlin left to pursue his direction in live-action films, then became Bob Clampett’s animator.

He is perhaps best known by fans today as, what I call, the “Second Bob Clampett” of Warner Bros. post-Clampett. Inheriting Clampett’s old unit, sharing many artistic similarities to Clampett’s famously rubbery and elastic directional style, however, Davis’s animation was significantly slightly watered-down, it was still rubbery, but bouncy and emphasized quite heavily on drybrush effects. 

Naturally, it was Davis who completed a few of Clampett’s cartoons after leaving the studio, such as “Bacall to Arms” (his directorial debut), “The Goofy Gophers” (Mac & Tosh’s first appearance) and “The Big Snooze” (written by Clampett himself). 

Interestingly, in an interview with Milton Gray, Davis himself admitted to not understanding Clampett’s humor. Davis was also insecure of the strength of the writing in his cartoons as he put more focus on the animation and gags if he feared the writing was mediocre (but that was NOT AT ALL the case).

Davis is noted for directing only ONE Bugs Bunny short, Bowery Bugs, as there was a rule that new directors were unable to touch the cartoon studios' biggest star until they have proven themselves worthy of directed a Bugs cartoon, which also explains why Frank Tashlin, also well, directed only TWO Bugs Bunny shorts (The Unruly Hare and Hare Remover), and why Davis did more one-shots than shorts with major characters (however, this rule didn’t seem to apply to McKimson whose first cartoon star WB’s second most popular star, Daffy Duck in Daffy Doodles).

Davis’s characteristics in his cartoons, when doing either one-shots or any of the established characters, was, again similar to Clampett, as well as Robert McKimson. Davis’s take on Bugs and Daffy were close to Clampett and early-to-mid 40s’ Jones, both being wacky screwballs at their best, while Davis’s Sylvester was drastically different from the more familiar Freleng Sylvester. Davis’s Sylvester was depicted as a dimwit with a simpleton voice in “Catch as Cats Can” and once portrayed Sylvester as silent and having a unnamed brother in “Doggone Cats”. 

Later on, because of budget cuts, Davis reluctantly produced his short in Cinecolor instead of Technicolor, which was already standard for theatrical Hollywood cartoons.

Sadly, after a total of 23 shorts (ending with “Bye, Bye, Bluebeared” and his film “A Ham in a Role” being done by Robert McKimson), Davis was no longer in the directors’ chair when WB decided to do, again, budget cuts at their cartoon studio. Friz Freleng offered Davis the opportunity to be his animator without the use of his distinctly energetic animation we’ve come to associate his and Clampett’s cartoons with as the budgets got tighter and tighter. As later into the early 1960s, Davis directed “Quackodile Tears“, which was only the slow beginning of WB cartoons dark ages, and the end of an era for Hollywood animation.

Afterwards, Davis was an animator at Walter Lantz Productions (famous for Woody Woodpecker, Andy Panda and Chilly Willy), continued his directional work at DePatie-Freleng Enterprise (famous for creating the Pink Panther), then at Hanna-Barbera (coincidentally was one of the directors for the first season of A Pup Named Scooby-Doo, which I’m sure he got a kick out of), continued to animate on later Looney Tunes-related projects like The Yolks on You and Daffy Flies North (1980). He retired afterwards in 1988 and died on May 9th, 2000.

Courtesy of Cartoon Research https://cartoonresearch.com/index.php/an-art-davis-scrapbook/

A drawing Davis did when he was getting a heart bypass surgery. Here, is a caricature of a nurse who the WB character fawn over in 1980.

Davis-directed shorts:

 Bacall to Arms (1946)

The Big Snooze (1946) 

 Mouse Menace (1946) 

The Goofy Gophers (1947) 

The Foxy Duckling (1947) 

Doggone Cats (1947) 

Mexican Joyride (1947) 

Catch as Cats Can (1947) 

Two Gophers from Texas (1948) 

What Makes Daffy Duck (1948) 

A Hick a Slick and a Chick (1948) 

Nothing but the Tooth (1948) 

Bone Sweet Bone (1948) 

The Rattled Rooster (1948)

Dough Ray Me-ow (1948)

The Pest That Came to Dinner (1948)

Odor of the Day (1948)

The Stupor Salesman (1948) 

Riff Raffy Daffy (1948) 

Holiday for Drumsticks (1949) 

Porky Chops (1949) 

Bowery Bugs (1949) 

Bye, Bye Bluebeard (1949) 

Quackodile Tears (1962)

[levysoft]

Fiori e alberi (Flowers and Trees) è un film del 1932 diretto da Burt Gillett. È il primo cortometraggio d'animazione della serie Sinfonie allegre prodotto a colori, distribuito negli Stati Uniti dalla Columbia Pictures il 30 luglio 1932. È inoltre il primo film prodotto in Technicolor a tre colori.

Fiori e alberi era già in produzione in bianco e nero prima che Walt Disney vedesse i test del Technicolor a tre colori di Herbert Kalmus. Decise quindi che Fiori e alberi sarebbe stato un test perfetto per il procedimento e, malgrado le reticenze del fratello Roy a causa dei costi, fece cestinare ciò che era già stato animato e rifare il film a colori. Il corto fu un successo commerciale e di critica, vincendo il primo Oscar al miglior cortometraggio d'animazione ai premi Oscar 1932. Il successo del colore fece sì che tutte le successive Sinfonie allegre venissero prodotte in Technicolor a tre colori, contribuendo a incrementare i profitti della serie fino ad allora deludenti. Il contratto in esclusiva di Disney con la Technicolor, in vigore fino alla fine del 1935, costrinse gli altri animatori come Ub Iwerks e Max Fleischer a usare l'inferiore procedimento a due colori della Technicolor o di società concorrenti come la Cinecolor.

Nel 2021 è stato scelto per la conservazione nel National Film Registry della Biblioteca del Congresso degli Stati Uniti.

(via https://it.wikipedia.org/wiki/Fiori_e_alberi e 1932 Silly Symphony Flowers and Trees July 30, 1932 - YouTube)

[courseone]

Cinecolor - Primaries LUTs [video width="640" height="338" mp4="https://courseone.net/wp-content/uploads/2024/03/PRIMARIES_SD_DOWNLOAD.mp4"][/video] NEUTRALIZE COLORS Used as the first step in your color pipeline, these LUTs correct common technical flaws to create an optimal starting point for your creative grade. FASTER BASE GRADES Instantly fix issues with contrast, white balance, tint, and color balance by selecting the right look for your camera & lighting setup. WORKFLOW 1. Test each of the 10 included LUTs on a single raw shot to determine which creates the best neutral base. 2. Apply the selected LUT to any additional shots that use the same camera and lighting settings.

[marchharedraws]

Angela's enjoying the beach life 🏝🌊

[thinkbolt]

Horse Laffs (Kinex Studios, 1934) - dir. John Burton

[eground01]

TWILIGHT - cinecolor (2024)

TWILIGHT

cinecolor

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[dreg-heap]

Main street

[dorothydalmati1]

Looney Tunes/Merrie Melodies 1934 Episode 3: Honeymoon Hotel

Score by Bernard B. Brown

Directed by Earl Duvall

Animated by Jack King & Frank Tipper

Voice characterizations by The Rhythmettes, The Varsity Three, Bernard B. Brown & Shirley Reed

NOTE: First WB cartoon produced in color, and produced in Cinecolor as stated in the title card.

[rabiososol]

COBALTO · TRAILER · SUBS from Julián Hernández on Vimeo.

Cobalto 2023 / México / Color / 21 minutos

Damián retorna herido al departamento que habitó con Orlando. Los dos evitan hablar sobre lo acontecido, pero los recuerdos que anidan por todo el lugar que alguna vez hicieron suyo se hacen presentes. El anhelo por ese pasado idílico se convierte en una angustia para ambos, que se ven forzados a convivir una vez más.

Dirección: Julián Hernández Guion: Gustavo Hernández de Anda y Julián Hernández Producción: Roberto Fiesco y Iliana Reyes Chávez Compañía Productora: : Mil Nubes – Cine, Indomable Cine, CTT, Cinecolor Fotografía: Ariana Romero Rodríguez Música: Arturo Villela Vega Edición: Emiliano Arenales Osorio Diseño de Produccion: Miguel Tavera Vestuario: Alejandro Caraza Maquillaje: Vladimir Amok Sonido directo: Armando Narváez del Valle Diseño de sonido: Omar Juárez Espino

[brunobresani]

La película del reconocido director argentino Diego Lerman protagonizada por Juan Minujín, Alfredo Castro y Bárbara Lennie, ha participado en importantes festivales internacionales y ha sido galardonada a Mejor Interpretación de Reparto en San Sebastián International Film Festival, Mejor Director en Havana Film Festival NY y Premio Cinecolor en Los Cabos International Film Festival.

Lucio, un profesor de letras en la Universidad de Buenos Aires, comienza a enseñar literatura en una escuela secundaria ubicada en una zona periférica de la ciudad, rápidamente se ve envuelto en los conflictos de los estudiantes. Lucio deberá apelar a todo su ingenio para sacar adelante sus clases y al mismo tiempo deberá cruzar sus propios límites y prejuicios para intentar salvar a Dilan, su alumno favorito, quien es perseguido por un grupo narco del barrio en busca de venganza.