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The Negative Film in Bi-chromatic Cinematography.
The first question that naturally arises when observing these two-colour films relates to the negative film from which they are produced.
How was this film obtained ?
Was it made on one and the same film, by alternating the two images through a green and an orange coloured screen ? In this case it would hardly be possible to obtain the perfect coincidence of the two successive images, especially where a subject in rapid motion was photographed: and yet the writer has been unable to trace even by microscopic examination, defects of coincidence in any two-colour images. It is true, however, that in none of the films observed did the subjects or scenes represented suggest that there had been any rapid movement.
Or were two objectives used and superposed one on the other, thus obtaining simultaneously two images through two selective filters on the same film ?
In this case, however, it would be requisite to arrange for the slight convergence of the two axes of the objectives or to adopt General Russo's system to remedy the phenomenon of parallax. We should still, however, be faced by the difficulty of having to change a portion of the film corresponding to a double normal image, involving a somewhat vigorous pull on the film.
The first system is the simpler and, in the case of staged scenes, it would not appear to be difficult to restrict the movements of the subject to an extent that would obviate any perceptible displacement of the two consecutive images.
The Colours of the Subject and the exigencies of the bichromatic PROCESS.
While we can do much to adapt the movements of the subject to meet the needs of the two-colour process, as much and more can be done in the matter of colour. It should also be added that since it is possible to realize the complemental character of white with pairs of different filters, the colour of the light screens in the bi-chro
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