Modern methods for the visualization of lenticular film colors
DOI:
https://doi.org/10.23738/CCSJ.140108Keywords:
lenticular film, Kodacolor, color reconstruction, deep learning, film digitizationAbstract
Some of the first home movies in color were shot on 16mm lenticular film produced by Kodak from the late 1920s to the 1940s. This very special film stock called Kodacolor is embossed with a vertical array of hundreds of tiny cylindrical lenses that allowed to record color scenes on a black&white panchromatic silver emulsion. There are multiple possible methods to extract the color information from the film images. An efficient method to obtain digital color images from these historical motion pictures is to scan the silver emulsion in high-resolution and let a software extract the encoded color information. In this context, a new approach based on artificial intelligence has been demonstrated more efficient for the localization of the lenticular screen than other previous methods. An alternative solution cosists in digizing the color images while these are created with the original optical method. While this last approach has the advantage of better representing the original historical appearance, it requires specific equipment and skilled operators.
References
Ahriman (1896) ‘Von der zukünftigen Photographie. Ein neues Prinzip der Farbenphotographie.’, Photographisches Archiv, 37, pp. 249–251.
Aschenbach, T. (2013) ‘Digital Color Decoding Of Kodacolor Film’. Reel Thing XXXII, Richmond, US-VA, 4 November.
Bedding, T. (1909) ‘Moving Pictures in Natural Colors.’, Moving Picture World, 4, pp. 30–31; 230–231.
Berthon, R. (1910) ‘A Suggested New Method of Colour Photography Direct at One Exposure.’, The British Journal of Photography, 57, pp. 421–423.
Brill, M.H. (1995) ‘The relation between the color of the illuminant and the color of the illuminated object’, Color Research & Application, 20(1), pp. 70–76.
Capstaff, J.G., Miller, O.E. and Wilder, L.S. (1937) ‘The Projection of Lenticular Color Films’, Journal of the Society of Motion Picture Engineers, 28(1), pp. 123–135.
Capstaff, J.G. and Seymour, M.W. (1928) ‘The Kodacolor Process for Amateur Color Cinematography’, Transactions of the Society of Motion Picture Engineers, 12, pp. 940–947.
CIE (2005) Recommended practice for tabulating spectral data for use in colour computations. CIE 167:2005. Vienna: Commission Internationale de l’Éclairage.
CIE (2019) Colorimetry — Part 1: CIE standard colorimetric observers. ISO standard ISO/CIE 11664-1:2019. CIE International Commission on Illumination. Available at: http://cie.co.at/publications/colorimetry-part-1-cie-standard-colorimetric-observers.
D’Aronco, S. et al. (under revision) ‘A Deep Learning Approach for Digital Color Reconstruction of Lenticular Films’, Transactions on Image Processing [Preprint]. Available at: https://arxiv.org/abs/2202.05270.
Ede, F. (2013) ‘Un épisode de l’histoire de la couleur au cinéma. Le procédé Keller-Dorian et les films lenticulaires’, 1895. Mille huit cent quatre-vingt-quinze. Revue de l’association française de recherche sur l’histoire du cinéma, 71, pp. 187–202.
Eggert, J. (1932) ‘Kurzer Überblick über den Stand der Farbenkinematographie’, in Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931. Leipzig: J. A. Barth, pp. 214–221.
Hunt, R.W.G. and Pointer, M.R. (2011) ‘Uniform Chromaticity Diagrams’, in Measuring Colour. 4th ed. John Wiley & Sons, Ltd.
Jacquet-Loew, J. (1923) ‘La cinématographie en couleurs Keller-Dorian’, Bulletin de la Société industrielle de Mulhouse, 89, pp. 421–426.
Keller-Dorian, A. and Berthon, R. (1915) ‘Patent E.P. 24,698’. London.
Kindem, G. (1981) ‘The Demise of Kinemacolor. Technological, Legal, Economic, and Aesthetic Problems in Early Color Cinema History’, Cinema Journal, 20,2, pp. 3–14.
Lippmann, G. (1908) ‘Épreuves réversibles. Photographies intégrales.’, Comptes rendus hebdomadaires des séances de l’Académie des Sciences, 146, pp. 446–451.
Mitchell, R.A. (1951) ‘Is Lenticulated Color-Film Practical?’, International Projectionist, XXVI(10), pp. 5–9, 29–30.
Moroney, N. et al. (2002) ‘The CIECAM02 Color Appearance Model’, in Color Imaging Conference.
Movie Makers Magazine (1928) ‘Kodacolor is here!’, August, pp. 524–525.
Poynton, C. (2003) Digital Video and HDTV Algorithms and Interfaces. 1st edn. San Francisco, CA, USA: Morgan Kaufmann Publishers Inc.
Reuteler, J., Fornaro, P. and Gschwind, R. (2013) ‘Digital Color Reconstruction of Lenticular Film: Project “doLCE”’. ARRI Archive Workshop, Munich, D, 11 June.
Reuteler, J. and Gschwind, R. (2014) ‘Die Farben des Riffelfilms. Digitale Farbrekonstruktion von Linsenrasterfilm’, Rundbrief Fotografie, 21(1/2, 81,82), pp. 37–41.
SMPTE (2011) ‘RP 431-2:2011 - SMPTE Recommended Practice - D-Cinema Quality — Reference Projector and Environment’, RP 431-2:2011, pp. 1–14.
Trumpy, G. et al. (2018) ‘Cyber-Digitization. Pushing the Borders of Film Restoration’s Ethics’, Electronic Media & Visual Arts, Conference Proceedings, 2018, pp. 190–195.
Trumpy, G. et al. (2021) ‘deep-doLCE. A Deep Learning Approach for the Color Reconstruction of Digitized Lenticular Film’, in Colour Photography and Film - Conference Proceedings. Colour Photography and Film: sharing knowledge of analysis, preservation, conservation, migration of analogue and digital materials, Florence: Associazione Italiana Colore, pp. 82–88.
Yumibe, Joshua. Moving Color: Early Film, Mass Culture, Modernism. Rutgers University Press, 2012.
Downloads
Published
Issue
Section
License
Copyright (c) 2022 Cultura e Scienza del Colore - Color Culture and Science
This work is licensed under a Creative Commons Attribution 4.0 International License.
The "Cultura e Scienza del Colore - Color Culture and Science" journal is registered at the Court of Milan at n.233 of 24.06.2014.
The journal is an open access journal, free for readers and authors and has joined ROAD, the Directory of Open Access scholarly Resources, since 2014. Articles published in the “Cultura e Scienza del Colore - Color Culture and Science" journal are open access articles, distributed under the terms and conditions of the Creative Commons Attribution License (CC BY). The copyright is retained by the author(s).