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----------------------------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
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