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MOTION PICTURES IX NATURAL COLORS 277
adjustable, so that the correct color values could be obtained with any machine. The red gelatine in it was fixed, but the green one was not: it was double, having one fixed segment and one moveable one, which partly overlapped. By adjusting the amount of this overlapping in the green sector, all variations in the colors of the light-source could easily be compensated for. All that was necessary was to adjust the shutter so that when the machine ran, empty, at speed, the screen seemed perfectly white. Another interesting detail of Kinemacolor practice was that the titles were made only on the green frames, as a safeguard to perfect color-framing, while there was also an identifying spot printed at the side of each green frame. Kinemacolor's results were very beautiful — at best, quite equal to anything now current — but the pictures were troubled with fringing, and also gave rise to considerable eye-strain. As they also required special projection equipment, due to the special shutters and the high speed, the process was not long-lived commercially.
Gaumont's Process
About the same time, M. Leon Gaumont, the famous French cinema engineer, devised a very excellent system using three colorimages, made and projected together through an ingenious triple lens system. The three pictures were one above the other, and occupied the same length of film as two normal frames. The resultant picture was, according to Dr. Mees of the Eastman Laboratories, " — admirable, all colors being perfectly rendered and the quality — in every way first class." However, its unfortunate need for special apparatus limited its commercial usefulness.
Eastman's Kodachrome
Clearly, to be truly a commercial success a process would have to be applicable, at least in projection, to all existing machines. This points to a subtractive process. One of the earliest of these, and a typical one, is Eastman's "Kodachrome", which was developed by J. G. Capstaff. This, again referring to Dr. Mees' monograph on the subject, was taken with a special camera which made two successive pictures — the red and green images — one below the other. This was printed through a special projection-printer, on a special stock, which had a sensitive emulsion on either side; the two images were printed exactly opposite each other, and in perfect register. The two sides of the film were dyed appropriately — one red, the other, green — and the film was ready to run. Being in itself a complete color-record, it could be used in any standard projector, with no special adjustment at all. The "Kodachrome" process is quite successful, though it has not been so extensively exploited as some others, and it is still in use today.
Prizrna
The next to capture the spotlight was "Prizma," a beautiful process which enjoyed a most checkered career, finally failing through no fault of its own. Prizma began life in 1917, as a pure four-color additive process, using red-orange; blue-green; yellow,