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230 CINEMATOGRAPHIC ANNUAL
scribed, but as Sennett has been going through a number of changes, the identical method used at this time may be fleeting.
Hall-Stull refer to the Keller-Dorian system of making color prints manufactured and sold by Eastman as Kodacolor (KODACHROME is the subtractive system, KODACOLOR is the additive system) , and the possibilities for the professional field. This system depends upon lens formations formed in the celluloid base as in the Eastman 16 mm. Kodacolor. The emulsion is reversed and a positive made from the negative originally exposed on the film. This assures that the photographic record will always be in definite relation to the lens elements. It has, therefore, been difficult to make copies.
Famous-Players having had much experience with double sided emulsions and desiring, as Mr. Zukor has said, to add all the beauty possible to their films, make the stipulation that they must have single sided film in color. Famous-Players are planning for color and apparently deciding that the Keller-Dorian system most nearly answers their requirements, are spending time developing the "copy" idea for 35 mm. film. They have succeeded in producing copies, which have been shown to members of the New York section of the S.M.P.E. If this method works out commercially, which it shows signs of doing, and if the quality is good, Famous-Players may look forward to a bright future with color films. This method is used at present for three colors. It can be adapted to any desired number, such as two or four colors. The color formations can be in dots, lines or squares, depending on the formations of color used in the optical system. The film itself will have the celluloid engraved in lens formations, the emulsion normal and the distributed prints in black and white reduced silver on such a base.
Hall-Stull say under the heading of Kinemacolor "no one who ever saw them will be likely to forget the beautiful and spectacular scenes made by this process". "Kinemacolor's results were very beautiful — at best, quite equal to anything now current." What killed Kinemacolor in the United States? Lack of programme and the inability to keep the special projectors working. This would seem to require that whatever system is adopted should be available to any producer so that the theatres are assured of plenty of programme material, following the same means theatres followed in connection with sound. Had color at its birth done the same we would have nothing but color in films at this time. Improvements have already been made which shows it is feasible and possible to run films, made in this simple manner, without color filters, color bombardment or fringing. Such films offer no difficulties in making copies, as they are without any special engraved lenses and nothing special is required for the optical system.
Hall-Stull say under the Eastman's Kodachrome heading, "Clearly, to be truly a commercial success a process would have to be applicable, at least in projection, to all existing machines". Sound required a special machine (projector) but has not held back the introduction of sound. Color is not as revolutionary as sound but it does seem that any inexpensive change in the method of showing films, in all