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276 CINEMATOGRAPHIC ANNUAL .
footing. He chose the latter, and finally evolved a system of mechanically stenciling the colors through hand-made masks. That this system is effective is evident by the fact that there survive today two improved stencil systems, the famous and beautiful Pathecolor, and the less-known but equally successful Handschiegl Process used for special effects by many of the American studios. Probably the outstanding example of this process in most memories is its application to the torches of the soldiers in Marion Davies' hit of a few years ago, "When Knighthood Was in Flower".
However, two years after these first experiments in synthetic coloration, another Englishman, Friese-Greene, developed what is probably the first process of true natural-color cinematography. This was a complicated three-color additive process, using orange-red, green, and violet, and combining the successive and superposed schemes. The pictures were taken on two separate films by an ingenious twin-lens camera, and projected by a similar projector; the color-cycles were echeloned, so that the pictures partly overlapped. That is, the left-hand projector would be projecting, say, a green image, while the right-hand one was projecting its blue one. Then the left-hand image would shift to red, after which the other would change to green, and so on. To make matters more interesting, the color-shutter was not a revolving disc, nor pair of discs, but a tinted film-band superimposed on the film! All told, it must have been a proposition capable of giving even the best operator nightmares. Clearly, it couldn't be much of a commercial proposition; and contemporary opinion doesn't indicate it to have been a vast success artistically, either, for the color-rendering is said to have been seldom good, and often entirely imaginary, while the pictures were not only fuzzy, but most unsteady. Apparently there was still almost undiminished room for improvement.
Kinemacolor
The next major development was the famous Kinemacolor process. No one who ever saw them will be likely to forget the beautiful and spectacular scenes made by this process of the ceremonies attending the funeral of the late King Edward of England, and the coronation of the present king, culminating in the unforgettable scenes of his visit to India, and the impressively beautiful Durbar. Kinemacolor was a two-color, additive process pure and simple, and exhibited all the advantages and disadvantages of that type. The films were made and projected at the rate of 32 frames per second — twice the standard. There was only one film used in the camera, but the shutter used was double, making one revolution for every two frames, and exposing these frames alternately through a green filter and a red-orange one. The film used was the ordinary stock, as no other was available in those days, but specially panchromatized by the Kinemacolor firm. It was processed in quite the ordinary way, giving a conventional black-and-white print, which bore only latent color-values, which were revealed by a revolving red and green shutter on the projector. This shutter was made