The art of sound pictures (1930)

COLOR 247 was as follows : when a particularly swift movement of the arm, for instance, takes place, the limb would appear in slightly different position in the differently colored pictures. Suppose that in the red picture the arm was at right angles to the body. Even though the green frame followed the red with extreme rapidity, the arm may have moved a fraction of an inch downward. When the blue frame came along, the arm might again have moved, so that the three differently colored pictures would each show the arm in a slightly different position. When the three pictures were again shown on the screen, they would not, as you can readily see, correspond exactly. There would be a different position of the arm in the three pictures. Therefore the red arm, which appeared in the first picture, would not be covered entirely by the green arm, which appeared in the next picture. And neither the red nor the green arm would be fully covered by the blue arm, which appeared in the third picture. As a result, the sight of the uncovered edge of the blue arm would still persist in the eyes of the audience when the next picture, the green one, appeared on the screen. The edge of the green arm also would still persist in the audience’s vision when the red arm came along. The total effect of these uncovered fringes, due to the noncorrespondence of the differently colored pictures, would be a fringe of color, noticeably red and green, but possibly running through all the different color mixtures of the spectrum, which would appear to follow the edge of the arm as it moved downward to a different position. This color fringe has never been entirely eliminated from color reproducing processes of this type, though, even as this book is being written, a color company with