XIV 



TECHNICOLOR AND OTHER METHODS 



AFTER reading the following part of this chapter re- 

 ferring to natural color in the 35 mm. motion pic- 

 ture film, you will agree with the writer that with 

 the present knowledge of the subject, and the ma- 

 terial on the market, it is not advisable to attempt it. 

 The results may be beautiful, but the expense pro- 

 hibitive. When the Eastman Company puts out, in 

 the 35 mm., a film like Kodachrome, it will make 

 natural color work in standard size practical for 

 anyone. 



Natural color has long been the dream of motion 

 picture technicians. Thousands of workers and mil- 

 lions of dollars have been spent on various methods. 

 There are hundreds of ways both in still and mo- 

 tion pictures of producing color more or less nat- 

 ural, each one claimed to be the best. 



For my work in flowers, color is essential and I 

 have worked with a good many methods. All of them 

 have a great deal of grief. Many are almost worth- 

 less; others so expensive, even if they were success- 

 ful, they would be prohibitive. In the methods now 

 generally accepted as the best, Technicolor outranks 



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