Emte sistemas suisse anti aging
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ShowHide details Technicolor no. III nitrate print. Photograph: Barbara Flueckiger. We had to learn how to prepare the emte sistemas suisse anti aging film so as to permit imbibition without diffusion. We had to devise a transfer machine capable of handling film in long lengths and in quantities, and in which blank and matrix could be brought into registered contact and held there for several minutes while the dyes transferred.
Simultaneously with work upon these various subtractive printing processes, we devised a camera that gavea two-color separation negative images free not only from fringing and parallax but also from the harmful effects of celluloid shrinkage. In this camera the two images were in symmetrical pairs, one being the mirror image of the other. These were arranged upon a single strip of negative stock with both members of the symmetrical pair positioned accurately with respect to symmetrically adjacent pairs of perforations.
The perfect geometrical symmetry of this arrangement is shrinkageproof during the entire life of the negative. The very compact prism system of this camera permitted the use of relatively short focal length lenses. The aberrations of the glass path were taken into account in the computations for these lenses.
Emte sistemas suisse anti aging imbibition prints were brought out commercially injust about the time that sound swept the industry. We were then immediately faced with the necessity of combining color with sound. The only procedure emte sistemas suisse anti aging at that time was to make the sound-track identical with one or both of the picture components; but this would give a sound-track in dye, which would have varying absorption throughout the range of wavelengths to which photoelectric cells are sensitive.
The response from such a track would then, of course, differ for one type of cell from that for another type and especially so in the case of a variable-density track.
We avoided this problem by starting, not with a blank film, but with a strip of positive stock upon which the sound-track could be printed and developed in silver while leaving the picture area blank. Imbibition transfer of the picture components into emte sistemas suisse anti aging blank area could then take place.
This method is capable of giving a sound-track absolutely identical to that used in the black-and-white art. Better yet, because of the complete separation of the sound-track technic from the picture technic, the necessity of any compromise between sound and picture quality is eliminated and ideal sound-track processing conditions are possible. Many millions of feet of two-color imbibition prints with a silver sound-track were produced by Technicolor in and subsequent years.
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Arthur : The Technicolor process of three-color cinematography. Meanwhile Mr. And so in I once more found myself explaining to the directors of Technicolor that I always had believed and still believed very thoroughly in the ultimate success of the Technicolor project, always provided, however, that it was recognized by all the Directors to be a tremendously difficult undertaking technically and one which requires business sagacity and financial endurance.
These directors, including the late Wm. Travers Jerome, the late Wm. Hamlin Childs, the late A. Erickson, the late Wm. Coolidge, the late Thomas W. Slocum, James C.
Colgate, Eversley Childs, and Alfred Fritzsche, had many earlier reminders of the necessity of financial endurance. Prior to over two and emte sistemas suisse anti aging million dollars had been spent, but this time I was not calling for money for cameras and printers, for imbibition machines and research salaries; it was to go into production. When they asked me what I knew about production, I frankly told them nothing, but at least I could start from scratch without some of the fixed ideas and prejudices concerning color that some of the Hollywood producers seemed to have accumulated.
I wanted to make short subjects, not primarily to make money as a producer, but to prove to the industry that there was nothing mysterious about the operation of Technicolor cameras, that the transition from what the emte sistemas suisse anti aging saw to what the emulsion recorded was susceptible of reasonable control through understanding, that black and white cameramen could easily be trained to light for Technicolor cameras, that talented art directors could readily begin to think in terms of color, that rush prints could be delivered promptly, and generally that the job could be done efficiently and economically, utilizing but not minutely imitating black-and-white experience.
The first short we produced was a story of the creation of the American flag, an episode involving George Washington and Betsy Ross. George M. Cohan probably never produced anything more certain emte sistemas suisse anti aging applause than when George Washington unfurled the first American flag in glowing color.
We made twelve of these two-reelers, an experience which established the fundamentals of our studio service both in the emte sistemas suisse anti aging and color control departments, and altogether disclosed the answers to a multitude of practical questions which have served us no end since that time. They were produced economically and yet we were continually praised about them by Metro who distributed them.
In my emte sistemas suisse anti aging Technicolor would not have survived without the experience of this series of short subjects. Our friends and customers both in Hollywood and New York praised and applauded these short subjects, but they were only shorts.
Nicholas Schenck advised us to produce a feature production which Metro would distribute. I had been much impressed with a production called The Emte sistemas suisse anti aging Wagon, a touching love story with the epic quality of slowly and laboriously conquering a continent.
Why not have a love story of the vikings with the epic quality of fighting mutiny and storms to conquer an ocean. Jack Cunningham, recently a writer and associate producer at Paramount, wrote The Covered Wagon, so we engaged him to write The Viking. But also we got our money back. The late Irving Thalberg, who was always our friend and a believer in Technicolor, thought we had a lot of production for that amount of money, and bought it for Metro by reimbursing our cost to us.
There seemed to be two principal troubles with The Viking, both of which I suspected but without certainty. First, it came out among the very last silent pictures in and, second, whiskers. Leif Erickson, the viking hero, true to character, had a long, curling mustache, whereas American audiences prefer their lovers smooth-shaven.
At times the whole screen seemed filled with viking whiskers.
But the picture was a good color job and the first to be synchronized with music and sound effect. But thus far we had only isolated feature productions. The building of color cameras on the scale they exist today, the building of laboratories of sufficient capacity that prints could be made cheaply enough to make color generally available could not be carried on emte sistemas suisse anti aging terms of an occasional picture.
We brought out two-color imbibition prints with silver sound track in The advantages in respect of focus, cupping, scratching, size of reel, and cost of manufacture were immediate.
The gelatin on the Technicolor imbibition film is harder than on ordinary black and white, and through the years there is substantial evidence that the life of Technicolor imbibition prints is greater than that of ordinary black and white.
By early all the important studios in Hollywood had become thoroughly sound conscious. This was a great help to us in introducing color. Prior to that, studio executives were loath to permit any change whatsoever in their established method of photography and production. But with the adoption of sound, many radical changes became necessary.
Technicolor was always confronted with objections that photographing in color required more light, different costumes, a knowledge of color VINKOVA propolisová tinktura, additional time, and one or the other of these points, plus the added forceful argument that it cost more money, made it difficult for us to get started. In my opinion the turning point came when we ourselves produced the series of short subjects.
By entering the field as a producer, by keeping very careful records of our time and money schedules, and by openly discussing with studio executives everything that we were doing as we went along, we dissipated most of the prevailing misinformation. Meanwhile our quality was improving; our costs were decreasing.
Warner Bros, and Metro-Goldwyn-Mayer were regularly coming out with satisfactory short subjects in Technicolor, and two inserts were highly successful, namely, Broadway Melody and Desert Song.
Paramount had produced a successful feature length picture in Technicolor, Redskin. The studios were beginning to be color conscious. But it remained for Warner Bros, and its affiliated company, First National, to take the first step on a large scale. Warner, with foresight and courage, signed up with us for a series of more than twenty features.
The Technicolor mechanical service of providing and maintaining cameras in good working order and of delivering rush prints emte sistemas suisse anti aging time was well established. Cooperation under the head of color control was ranging all the way from deciding the details of the color composition of sets, choice of materials and costumes, to the broad planning and preparation of a picture by wiring a color score after the manner in which the musical score is written.
As evidence of the increased color-mindedness throughout the industry, Technicolor had contracts for the ten months beginning March,covering the photography and delivery of prints of the footage equivalent of approximately seventeen feature length productions. This required a doubling of the Hollywood capacity which was accomplished in August, For the year Technicolor had closed contracts for thirty-six feature-length productions which would call for some 12, linear feet of negative to be sensitized, photographed and developed during that year in the Hollywood plant, and a print capacity of approximately 60, feet.
During this boom period of andmore work was undertaken than could be handled satisfactorily. The producers pressed us to the degree that cameras operated day and night. Laboratory crews worked three eight-hour shifts. Hundreds of new men were hastily trained to do work which properly required years of training. Golden Dawn Warner Bros. Brown Warner Bros. Viennese Nights, all-star cast Warner Bros.
By reason of the fact in Technicolor of complete separation of the sound-track technic from the picture technic, the necessity as in black-and-white procedure of compromise between the sound and picture quality is avoided and relatively better sound-track should result. The first to take advantage of this was Ted Reed who was in charge of Mr. When that picture was shown in Hollywood the sound quality elicited much favorable comment and discussion among producers and technicians.
My greatest anxiety at the time was that there might be thrust upon the public productions which would be very crude in color composition and unfaithful in color reproduction. Our own color control department was doing everything possible to consult with and advise directors, authors, art directors, wardrobe heads, paint departments, and others in the studio, and this department was being expanded as fast as practicable.
But there was more involved than questions of composition and design. There were the limitations of the process. I feel confident that the short-comings of our two-color process will be aided by the fact that they are combined with voice, and particularly by the fact that the work includes so many girl and music type productions like Sally with Marilyn Miller, and Paris with Irene Bordoni.
Also this combination will offer a very considerable novelty angle for a emte sistemas suisse anti aging which is always important in the amusement world. Gradually, however, I believe the public will come to realize that these two-color pictures do not represent an ultimate natural color process. Consequently I feel urgently that our drive to put our process on a three-color basis as soon as possible vráskový krém 45 not in the least be abated because of our success in getting business on the two-color basis.
This three-color work is moving ahead and involves a very considerable research department in Hollywood under the direction of Mr. In the last analysis we are creating and selling entertainment.
The play is the thing.
You cannot make a poor story good by sound, by color, or by any other device or embellishment. But you can make a good story better. Broadway has a terrible struggle each season to find good stories or plays for a dozen successes.