----------------------------Original message---------------------------- Recently I had the opportunity to see the new colour-version of Tati's 'Jour de fete'. Not (partly) coloured black and white (like earlier versions), but the original colours, as Tati shot them in 1947. He used the experimental Thomsoncolor-process, which failed where it came to producing prints. Only now cameraman and technician Francois Ede succeded in 'decoding' the original negative. In articles about this achievement I found some rather vague descriptions of the Thomsoncolor-process (said to be based upon the antique Keller-Dorian process). Enough to give me a rough idea of the supposed workings (additive colour-mixing, image consisting of fine lines representing red, green, blue, on B&W stock). Too little information however to satify my curiosity. So I'll try posting this question: How exactly was this colour-separation realised, and especially, why was it so impossible to produce prints? Any light on this matter (or a pointer to a good source of information) is appreciated. Leo Bankersen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [log in to unmask]