At Technicolor colour is in our DNA!

The Early Days In 1915, The Technicolor Motion Picture Corporation began its love affair with colour, and in the process created one of the most revolutionary changes in film history. The addition of sound in 1923 meant that film was better able to imitate reality; but it was the move from black-and-white to colour that wowed audiences and transformed the industry forever.

The first feature-length blockbuster that used the Technicolor two-colour process, The Black Pirate (1926) was considered avant-garde and rather ostentatious. At this time, directors often picked specific scenes to colour, in order to heighten the audiences' emotions. This has led some commentators to express that modern audiences still associate saturated colour, such as that experienced by early cinema goers, to happy and positive emotions.

The process which changed colour film forever Technicolor quickly developed an improved colour system, the three strip IB dye-transfer process used in much loved family films, such as Gone with the Wind (1939) and Singin' in the Rain (1952). This system was revolutionary, and film that used the Technicolor IB dye-transfer process is as vibrant as ever, making them invaluable sources for film restoration projects. The rich colours produced in this process also served to make films more vivid than reality itself, and this aesthetic served to enhance films' escapist quality.

Colour and Emotion Scientific research conducted in the 1930's showed that colour directly shaped emotional responses and ever since, directors have been using colour as a narrative devise. The first example of this cinematic technique is a scene from The Wizard of Oz (1939), where Dorothy leaves her sepia-toned reality to the colourful land of Oz - representing the start of her big adventure. Other directors that Technicolor has worked with over the years, such as Stanley Kubrick, Tim Burton, Stephen Spielberg, Ken Loach, David Lean and many more have all relied on colour to shock, amaze and draw audiences into their vision.

Today, the colour grading process in post-production serves to ensure the full spectrum of emotion is provoked. Moreover, the finishing touches in the DI suites helps the directors and DOP's create a greater sense of time in the film. A good example of this is BAFTA winning film, Paddington (2014), which has a timeless quality that was created by understanding the subtle nuances of colour in the post production process.

Colour Technology is always evolving Colour's early history in film was symbiotic with technological advance, and the same could be said today. The industry is driven by technological change, and, although Technicolor was once associated with its dye-transfer process, it has reinvented its services to embrace the wonderful possibilities provided by the digital revolution.

Bringing new ideas to the table, working in collaboration and creating the dialogue necessary to keep pushing the technological boundaries has meant exciting new technologies have been developed. On set colour grading, such as Technicolor's DP Lights V2.0, allows DOP's to control their colour choices before the post production process. Technicolor has also recently is announced its first technology licensing deal for color in the smartphone industry, partnering with ALCATEL ONETOUCH on the launch of IDOL 3, the brand's latest flagship smartphone , to embed Technicolor Color Enhance technology. The IDOL 3 color adaptive screen, with Technicolor Color Enhance Technology, gives the viewer a rich color experience.

It's incredible to think that within a century audiences can now choose any screen and experience colour in a way that excites as much as it did for audiences in the 1920's.

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