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which stand up well against practice, but are unable absolutely to check back and prove them out. A good portion of the audience that view natural color pictures see colors at variance with what we term normal vision. Others attempt to judge colors from their own conception of what they should be. For example, the color of the waters of the Pacific Ocean varies from that of the Atlantic Ocean, and to one who has not noted this difference by personal visit, the color rendering may be judged to be unsatisfactory. Don't be hasty in forming your judgment as to the color correctness of a picture — your neighbor may be seeing it differently from you. I have seen a picture projected in which the color of certain flags appeared as orange to me, while to my associate they were pink.
THE EXHIBITORS
In the "British Journal of Photography" of February i, 1918, on page 8 of the Supplement, there is added to an otherwise more or less correct statement, the following :
"Altogether, it does not look as though the commercial prospects for additive processes of color cinematography are very encouraging. We have still to wait Jor the ideal color film which can be bought all complete by the yard and inserted for projection into the standard cinematograph lantern . ' '
On December 28, 19 18, Prizma began releasing weekly natural color films which can be "bought all complete by the yard and inserted for projection into the standard cinematograph lantern."
From the exhibitor's standpoint that is the big accomplishment; for all previous natural color films required either high projection speed, so high that such films only have one-third their normal life, or an attachment, or a complete new projector. Nearly all of these forms, in actual practice, required the attention of a special trained operator from the home office, or what is just as troublesome, a course of instruction to the theater operator, before the films could be left with safety and assurance of successful shows.
THE COLOR WORKERS
For the information of those that like the "ins and outs" of the process employed will say: —
The negatives are made through two sets of complementary colors, or as we usually say, four colors.
The four color values are dyed in two colors. That is to say, the reds and oranges are dyed a red-orange color, while the greens and green-blues are dyed a color complementary to the red-orange colors used.
In many subjects when the film is examined in the hand, there is a noticeable difference in alternating images, in which case one will favor the green-blue, and the succeeding image will favor green. These blend without pronounced flicker on projecting at the customary projection speed.
The projection is on the additive principle of mixing lights while the production of the image is accomplished by the subtractive principle.
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