25:
122:
263:
Alas, certain early color TV transfers were exposed without respect to whether the film was wound conventionally on the reel (A-wind, i.e. emulsion facing toward the hub) or whether the wind was reversed (B-wind) rendering the resulting color image as somewhat faulty, i.e. due to the thickness of the
302:
The technique, if used with a camera not specially designed for contact printing, runs the risk of jamming the camera, due to the double thickness of film in the gate, and damaging both the exposed and unexposed stock. On the other hand, because both strips of film are in contact and are handled by
341:
The foreground action is lighted with yellow light only in front of a uniform, strongly lighted blue backing. Panchromatic negative film is used in the camera as the rear component of a bipack in which the front film is a positive yellow dye image of the background scene. This yellow dye image is
272:
To achieve the in-camera effect, a reel would be made up of pre-exposed and developed film, and unexposed raw film, which would then be loaded into the camera. The exposed film would sit in front of the unexposed film, with the emulsion of both films touching each other, causing the images on the
303:
the same film transport mechanism at the same time, registration is kept very precise. Special cameras designed for the process were manufactured by Acme and
Oxberry, amongst others, and these usually featured an extremely precise registration mechanism specially designed for the process. These
284:
The process had its beginnings in providing a repeatable method of compositing live action and matte paintings, allowing the painted section of the final image to be completed later, and not tying up the set/sound-stage whilst the artist matched the painting to the set. It also alleviated the
273:
exposed film to be contact-printed onto the unexposed stock, along with the image from the camera lens. This method, in conjunction with a static matte placed in front of the camera, could be used to print angry storm clouds into a background on a studio set. The process differs from
307:
are usually recognisable by their special film magazines, which look like two standard film magazines on top of each other. The magazines allow the separate loading of exposed and unexposed stock, as opposed to winding the two films onto the same reel.
226:, would be exposed together with their emulsions pressed into close contact, the orthochromatic one nearest the lens. The orthochromatic negative ended up reversed from the normal handedness, but as the two negatives were often contact-printed onto one
285:
considerable difficulties caused by matching shadows on the painting to the set on an open-air set. The process worked equally well for matting-in real water to a model, or a model skyline to live action. The process was also referred to as the
342:
exposed on the negative by the blue light from the backing areas, but the yellow light from the foreground passes through it and records an image of the foreground at the same time.
333:
Various improvements and extensions of the process followed, the most famous being
Carroll D. Dunning's, an early method built on the bipacking technique and used for creating
260:
used from 1932 to 1955, exposed two of the three strips—the blue and red images—in bipack. The green record, the highest definition record, was exposed directly.
277:
in that no optical elements (lenses, field lenses, etc.) separate the two films. Both films are sandwiched together in the same camera and make use of a phenomenon known as
352:. Its chief limitation was that it could not be used for color cinematography, and the process died out with the increasing move toward production of films in color.
499:
Professional production cameras will accept two thicknesses of film; process cameras will accept three thicknesses of film or two plus a splice.
181:, is the process of loading two reels of film into a camera, so that they both pass through the camera gate together. It was used both for
108:
476:
440:
407:
46:
295:
346:
The
Dunning Process, often in shorthand referred to as "process," was used in many black and white films, most notably
89:
316:
61:
35:
214:
all manufactured bipack film stocks for use in color processes from the 1920s onwards. Two strips of film, one
68:
514:
321:
42:
348:
219:
75:
366:
57:
376:
334:
482:
472:
446:
436:
413:
403:
186:
182:
361:
312:
227:
371:
264:
film itself, one primary color was out-of-focus. Later transfers corrected this error.
215:
170:
508:
203:
198:
315:, was used until digital methods of compositing became predominant in the industry.
82:
464:
223:
257:
24:
242:
486:
417:
246:
450:
293:
is the long shot of astronauts clambering down into a lunar excavation in
250:
238:
231:
211:
256:
The most famous version of
Technicolor, the full-color three-strip
121:
120:
207:
234:
process, this often worked to the advantage of the laboratory.
325:
that utilised the method to create matte painting composites.
18:
218:
and having a very thin and superficial red dye layer on its
311:The bipack process, which is a competing method to
49:. Unsourced material may be challenged and removed.
433:Techniques of Special Effects of Cinematography
185:(effects that are nowadays mainly achieved via
402:. Oxford: Elsevier Science. pp. 43, 310.
289:process. Perhaps the most famous example of a
189:) and as an early subtractive colour process.
8:
435:(3rd ed.). New York: Hastings House.
125:Diagram of the bipack filming principle.
109:Learn how and when to remove this message
387:
230:for subsequent color-toning, as in the
393:
391:
153:2 - front film orthochromatic emulsion
398:Read, Paul; Meyer, Mark-Paul (2000).
319:used a specially-built rig built for
7:
47:adding citations to reliable sources
16:Cinematography visual effect process
159:4 - back film panchromatic emulsion
400:Restoration of Motion Picture Film
14:
23:
156:3 - front film red filter layer
34:needs additional citations for
237:Early color processes such as
1:
138:D - front film take-up reel
135:C - front film feeding reel
531:
431:Fielding, Raymond (1972).
317:Industrial Light and Magic
268:Use as an in-camera effect
196:
132:B - back film take-up reel
129:A - back film feeding reel
469:2001: Filming the Future
471:. London: Aurum Press.
337:. It is described thus:
322:The Empire Strikes Back
344:
253:all used bipack film.
193:Use as a color process
166:
339:
296:2001: A Space Odyssey
258:Technicolor Process 4
124:
43:improve this article
329:The Dunning Process
150:1 - front film base
377:Matte (filmmaking)
167:
162:5 - back film base
367:Schüfftan process
183:in-camera effects
119:
118:
111:
93:
522:
500:
497:
491:
490:
461:
455:
454:
428:
422:
421:
395:
335:traveling mattes
313:optical printing
279:contact printing
275:optical printing
187:optical printing
114:
107:
103:
100:
94:
92:
51:
27:
19:
530:
529:
525:
524:
523:
521:
520:
519:
505:
504:
503:
498:
494:
479:
463:
462:
458:
443:
430:
429:
425:
410:
397:
396:
389:
385:
362:Optical printer
358:
331:
305:process cameras
270:
228:duplitized film
210:, Gevaert, and
201:
195:
165:
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
528:
526:
518:
517:
515:Cinematography
507:
506:
502:
501:
492:
477:
456:
441:
423:
408:
386:
384:
381:
380:
379:
374:
372:Special effect
369:
364:
357:
354:
330:
327:
269:
266:
216:orthochromatic
197:Main article:
194:
191:
171:cinematography
164:
163:
160:
157:
154:
151:
148:
145:
142:
139:
136:
133:
130:
126:
117:
116:
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
527:
516:
513:
512:
510:
496:
493:
488:
484:
480:
474:
470:
466:
465:Bizony, Piers
460:
457:
452:
448:
444:
438:
434:
427:
424:
419:
415:
411:
405:
401:
394:
392:
388:
382:
378:
375:
373:
370:
368:
365:
363:
360:
359:
355:
353:
351:
350:
343:
338:
336:
328:
326:
324:
323:
318:
314:
309:
306:
300:
298:
297:
292:
288:
282:
280:
276:
267:
265:
261:
259:
254:
252:
248:
244:
240:
235:
233:
229:
225:
221:
217:
213:
209:
205:
200:
199:bi-pack color
192:
190:
188:
184:
180:
176:
172:
161:
158:
155:
152:
149:
146:
144:F - film gate
143:
140:
137:
134:
131:
128:
127:
123:
113:
110:
102:
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
495:
468:
459:
432:
426:
399:
347:
345:
340:
332:
320:
310:
304:
301:
294:
290:
286:
283:
278:
274:
271:
262:
255:
236:
224:panchromatic
202:
178:
174:
168:
141:E - sprocket
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
239:Prizmacolor
478:1854103652
442:0803870310
409:075062793X
383:References
243:Multicolor
222:, and one
69:newspapers
349:King Kong
291:held take
287:Held Take
247:Cinecolor
175:bipacking
99:July 2007
509:Category
487:33009042
467:(1994).
418:45352344
356:See also
251:Trucolor
220:emulsion
147:G - lens
58:"Bipack"
204:Eastman
177:, or a
83:scholar
485:
475:
451:503765
449:
439:
416:
406:
249:, and
232:Prizma
212:DuPont
179:bipack
85:
78:
71:
64:
56:
90:JSTOR
76:books
483:OCLC
473:ISBN
447:OCLC
437:ISBN
414:OCLC
404:ISBN
208:Agfa
62:news
169:In
45:by
511::
481:.
445:.
412:.
390:^
299:.
281:.
245:,
241:,
206:,
173:,
489:.
453:.
420:.
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
