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MOTION PICTURES IN NATURAL, COLORS 275
require special cameras and special processing, their films may be run on any projector — a great commercial advantage.
Now, further than this, the additive processes divide into two categories: those whose separate color images are made and shown successively, depending upon persistence of vision to form the combined color-pictures; and those whose separate color-images are taken simultaneously, and superimposed by projection, giving a single, complete color-picture on the screen. Obviously, the first of these two is by far the easier to handle, but it has the disadvantage of creating a considerable strain on the viewers' eyes — generally causing severe frontal headaches from the optical effort of combining the several successive partial images into one complete colored one. In addition, these successive processes have another disadvantage: they often show a colored fringe around the edges of a moving object. This is natural, for, in the simple case of, say, a hand in motion, it could hardly be expected that the red image, having been taken a fraction of a second after the green one, would show that hand in exactly the same position. Obviously, if the two were superimposed one on the other, they would be a trifle out of register, and leave a tiny clear space around the edges of the hand. On the screen, then, one of those clear spaces will be red, and the other green, giving to the eye the effect of a flickering red and green fringe around the hand during its movement. On the other hand, simultaneous images, whether projected from separate films, as in some systems, or by a multiple lens arrangement, as in others, naturally require a lot of extra apparatus, which is a serious drawback, commercially. Incidentally, if separate films are used, the problems of maintaining exact register assumes unpleasant proportions.
All in all, the problems of color cinematography are so numerous that it is a great credit to the many individual experimenters that the matter has been brought to its present successful stage, where films in color are not only practical for professional use, but available for amateurs as well. The steps leading up to this present condition are many, and interesting, and even a brief review of the outstanding ones may prove helpful to the users of today's perfected color systems.
Early Efforts
It is not generally known, but the first film made for screen projection — Jenkins', in 1895 — was in colors, having been handtinted by a Mr. Boyce. A year later, Robert Paul, an English experimenter, also tried hand-coloring. Anyone who has tried to color still pictures knows what a task it is to do a really perfect job on one single picture: consider, then, the difficulty of coloring the tiny images on a movie film; and then — think of the infinite numbers of these images in even a few feet of film! Paul finally achieved a colored version of his sevenreel production of "The Miracle", but the real miracle of it was the job of hand-coloring its 112,000 frames. After fighting his way through to success in this matter, Paul decided that the only thing to do was either to abandon colored films entirely, or put the coloring on a mechanical