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Sept., 1937] NEW AGFACOLOR PROCESS 251
Of the simultaneous-projection methods, the most prominent was the three-color Gaumont process, which was capable of results beyond criticism from the standpoint of quality. However, since the process required special projection equipment, theater owners were reluctant to purchase this equipment, for which an adequate supply of films was not assured. This prevented any large measure of commercial success.
When it was realized that any process of color cinematography requiring special projection equipment was seriously limited from a commercial standpoint, increased attention was given to methods for producing films in which each frame was a complete color picture. This led to the acceptance of subtractive methods and a decline of interest in additive processes, with the exception of the screen-plate and lenticular methods, which have alone survived.
Subtractive methods using bipack negatives and double-coated positive films have become widely known. In some cases the color was produced by inorganic toning, dye toning, or a combination of both. In some of the three-color processes the third color, usually the yellow, was applied by imbibition.
The well known Technicolor method, which has been widely adopted commercially, is an outstanding achievement in a subtractive color process. In this process tricolor separation negatives have to be made, from which a transparent print in colors is produced using the subtractive colors.
Of the various methods of color photography that have survived none is free from limitations that prevent wide and general adoption, nor is there any indication of the direction in which further improvements of a fundamental nature could be made.
Because they represented the one branch of the art that gave some hope of a brilliant future, the multilayer-film methods have finally emerged into prominence after a long period of comparative obscurity. These methods are characterized by the use of a film having three differently sensitized emulsion layers coated in superposition upon a single support, with screening dyes added to the emulsions, or with interposed filter layers of dyed gelatin to assist in proper color separation. The principle is clearly that of the familiar tripack, which is the simplest form of tricolor separation, but the three emulsions are coated upon one another to form a single integral unit — instead of the three separate films of the tripack. It is this class of multilayer process and its history that are of chief concern.