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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

60's technicolor RED raw.

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Dolph van Stapele

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Hi,

I made a short film and it turns out that that the best color choice would be 60's technicolor look. Is there a plugin or filter or something else where I can create this look. Any colorists here on anyone who have experience with this.

Thanks in advance
 
Dolph van Stapele said:
I made a short film and it turns out that that the best color choice would be 60's technicolor look. Is there a plugin or filter or something else where I can create this look. Any colorists here on anyone who have experience with this.
Click to expand...
1960s Technicolor is just the normal Tri-pack Eastman color process, not Tech IB or 3-strip. The discussion Jake references is more about the 3-strip and 2-strip processes.

To me, the right answer to your question is: color correction is a process, not a plug-in. You can get this look by hiring a good colorist to come in and go through the shots and adjust them accordingly using the controls available in the color-correction software. And any correction you do will hinge very much on the quality of the original photography. Something murky, underexposed, and crushed will not react the same way as something clipped, blown-out, and overexposed. Even the vast majority of stuff inbetween is going to change depending on light, shadow, contrast, art direction, costumes, make up, and so on. There is no such thing as a "one size fits all" color correction, let alone a plug-in or LUT.
 
I think if a movie was labeled "Prints by Technicolor" in the 1960's, it would have most likely been I.B. / dye transfer prints, with b&w separation matrixes struck from Eastmancolor negative -- Technicolor didn't discontinue dye transfer printing until the mid-1970's.
 
David Mullen ASC said:
I think if a movie was labeled "Prints by Technicolor" in the 1960's, it would have most likely been I.B. / dye transfer prints, with b&w separation matrixes struck from Eastmancolor negative -- Technicolor didn't discontinue dye transfer printing until the mid-1970's.
Click to expand...

Didn't they briefly tried to bring that technology back? I recall seeing one of Batman movies a while back printed with the die transfer process. I think only two prints were made.
 
Yes, there was a prototype built in the 1990's that could handle a low print run. Unfortunate most of the cost of dye transfer printing is setting up the matrices so the cost reduction comes from the volume you print since it uses a special blank base rather than photographic emulsion. The process died in the 1970's because the average print run of a major release was just a few hundred prints, not knowing that by the 1990's a major release would need 2000 to 6000 prints for worldwide release on the same day. But the prototype couldn't work at that volume so the costs were very high.

The other thing that killed it was that you need at least a month to color time and create the printing matrices, and by then, Hollywood was used to finishing post just two weeks before release (it's worse now, they can fiddle up to a day or two before release and then send a DCP on a hard drive.)

There was a re-issue of "Gone with the Wind" and "The Wizard of Oz" in dye transfer prints, plus "Apocalypse Now Redux". There were a number of prints of "Bulworth", "Godzilla", "The Wedding Planner" made this way, and a couple of early test prints of "Batman and Robin" and one print of "The Thin Red Line" made after the release and given to Terrance Malick.
 
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