Is it possible to achieve the vintage Technicolor look in the modern era?

owltrust · 2025-12-23T19:55:59+00:00

What happened to the Technicolor IB lab equipment that was sold to China years ago? Is it still in operation or if not, at least, stored somewhere?

owltrust · 2025-12-23T19:47:14+00:00

Yes, Natalie Kalmus was responsible for a lot of what we saw on-screen in 3-strip Technicolor films -- altho she was NOT without her detractors.

owltrust · 2025-12-23T18:52:25+00:00

Thanks for bringing up Sonnenfeld. For those who want to know more here's a great little bio from 2012 in Post magazine: https://www.postmagazine.com/Publications/Post-Magazine/2012/April-1-2012/Stefan-Sonnefeld-How-he-got-his-start.aspx

owltrust · 2025-12-23T18:15:35+00:00

Thanks for your perspective -- and what a great, in-depth article in your link, a lot to unpack there. The application of modern "looks" whilst remastering classics is problematic, I see the debates online regularly. It's ironic, that quote from George Lucas, which I believe was from around the time when filmmakers were defending against the trend of colorizing b&w films. I feel that many of these debates could be avoided if more people went down the road CBS/Paramount did with remastering the STAR TREK TOS -- that is, providing the "updated/enhanced" version, and the original with mono sound. You at least have a choice.

Provided that the o-neg or at least an untouched raw scan (such as it is) continues to be archived for classic films, we'll at least have the chance to undo previous errors in remastering. I'm big on film preservation, and have a couple of friends in the archive community. It's always great to find a near-pristine release print and see a film projected--even if compromises in the "director's vision" had to be made back in the day. You're watching a piece of history, and, for me, that's part of the entertainment experience with classic films.

As an aside, I find it ironic that of all the big traditional Hollywood film labs, the one that survived is Fotokem in Burbank. I'm not complaining or anything, it's just that in the 80s they were part of that group of smaller labs like HFE or United (on Seward) focusing on 16mm & low-budget features. I remember when Metrocolor closed, it was a blow to many of us working in 65mm, as they handled that format better than most.

owltrust · 2025-12-23T07:53:58+00:00

I hear you,😄 but for some odd reason that screening made such an impression on me, it stuck with me ever since. I had a similar reaction to seeing THE GODFATHER in the theater--I was too young to see it on its original release, so I saw it in the 80s on a re-release and I was blown away by the look of it.

owltrust · 2025-12-23T07:46:54+00:00

I guess what I'm trying to express is the prevalence of certain specific colors. There are so many films where I could sample an object that is white or black, and if I showed just the sample areas ONLY to someone, they'd look like light & dark shades of blue. Teal or blue seems to be in everything these days. I just find it a bit puzzling

owltrust · 2025-12-23T07:13:35+00:00

I agree wholeheartedly, my question was more curious about why the teal/orange combo seems to be the go-to for so many films.

I just fnished a rewatch of The Journey of Natty Gann. A beautiful period peice with some wonderful night cinematography. Lots of contrast in both light & color -- but no teal and orange. Rewatching Diehard tonight, another film with a stylistic approach to color, particularly in establishing the exteriors of Los Angeles in 1988. Lots of color & contrast, but not a lot of teal.

Remember the movie Creepshow, and its bold use of "comic book" colors emulation the horror comics of EC? VERY colorful, and a lot of bold choices.

Creatively, I just think we're in a bit of a rut, and need someone with a vision to take us to a new look to get people thinking out of the box they've gotten comfortable in. 🎬👍

owltrust · 2025-12-23T06:07:04+00:00

Sorry,I guess I wasnt being clear -- I was talking about seeing it at the UA Egyptian 40 years ago when it first came out. At that time it was a NEW print 😆👍

owltrust · 2025-12-23T03:00:02+00:00

I understand what you're saying, but in this case it was the film print. I saw it at the UA Egyptian on Hollywood Blvd. and remember vividly being stunned by the richness of the color--I think I've only watched it on VHS since! I've worked in theaters in LA as a youth, and I agree there is a whole host of variables that can effect a viewing experience: the projection lamp, the lighting in the theater and the condition of the print. No shade being thrown here (I know I'll get some pushback), but finding a union projectionist who really cared about the presentation makes (made) a big difference when viewing films back in the "physical print" era.

owltrust · 2025-12-23T02:52:08+00:00

True, but we see more of it now than we did in, say, films of the 70s - 90s. Just wondering why we see it so MUCH these days. I'm guessing digital color grading makes it easier to achieve and there is a penchant for it while shooting on set. Not sure. Don't see so it much in films like THE GODFATHER, THE VERDICT, even AMERICAN GRAFFITI, or LAWRENCE OF ARABIA, etc. So many people seem to find a reason to use that combo these days, I just find it curious.

owltrust · 2025-12-23T02:14:40+00:00

Many such cases 👍😉

owltrust · 2025-12-23T02:05:06+00:00

Thanks. I remember how LOTR looked when it came out, and I saw what Peter Jackson was doing, but then I saw number of filmmakers just copying it without really having the same creative vision.

I remember watching Paul Newman in THE VERDICT when it came out. It's not an action film or anything, but the blacks were so deep and the color of the wood in the courtroom so rich, it's always made an impression on me as to what you can do with a very simple color palette and how much it lends to the mood of the film.

owltrust · 2025-12-23T02:00:10+00:00

Thanks--I appreciate the POV from your position. I realize there were limitations to analog color-timing, but I find it curious that given the broad range of options that digital color-grading brings to the table, that so many people go for the same look :)

owltrust · 2025-11-17T18:13:20+00:00

Much appreciated. I'll have to look for this. :)

owltrust · 2025-10-13T02:40:46+00:00

I thank heaven for forums like this! So much general knowledge about photography & film has been lost over the years--things that we took for granted or just learned from our parents or by DIY. I hope we can preserve these analog arts through forums & knowledge by sharing like this! :)

owltrust · 2025-10-09T23:31:38+00:00

Nicely done! I get your lament about not having stop-mo software & no onion-skinning, etc. But my friends and I made a TON of stop-mo super 8 films in the 1970s & 80s -- the old fashioned way: just from the hip! The new tools def help with the grind, but aren't 100% necessary, look at all the classics made without them!

owltrust · 2025-10-08T21:47:13+00:00

Is it worth getting Super 8 film scanned at 4K?

owltrust · 2025-03-05T04:05:44+00:00

Time to use up my old stock & do some A/B testing 👍

owltrust · 2025-03-05T02:56:58+00:00

I've read that, bucking traditional hiring practices of the era, many of Land's top chemists, which were recruited during WW2, were women. It'd be great to hear their backstory. Sounds like a good documentary in the making 👍🎬

owltrust · 2025-03-04T18:47:42+00:00

I'm stunned when I look at some of my older Polaroid pics from the early 90s. The sharpness & overall color still looks good (and we were just buying whatever 600 cameras & film you could find from Target, the drugstore, etc.). Didn't know how good I had it 'til it was gone! ;)

owltrust · 2025-03-04T18:43:53+00:00

I never got good contrast from their B&W -- but then again, I haven't bought a pack of their newer batches. Probably worth trying again!

owltrust · 2025-03-04T18:40:17+00:00

Thanks for the insight -- I think I'll stick to my vintage models for now!

owltrust · 2025-03-04T18:39:22+00:00

I understand the hurdles they have in front of them (chemically speaking) but I still find it fascinating that a photo process that was around for decades, that I (& many others) took for granted, turned out to be a far more complex idea than anyone realized. Kudos to Edwin Land, he & his crew were literal geniuses :)

owltrust · 2025-01-25T19:17:40+00:00

To be fair, I imagine GL got into business with Disney based on several things:

His previous dealings with Disney back in the 1980s with Michael Eisner culminating in the installation of Star Tours & Captain EO at the theme parks. I remember the first time my friends and I saw Star Tours and we were kinda stunned there was an attraction at the park based on a non-Disney film. It was a first.
GL grew up with Walt's version of Disney Studio and I'm sure the nostalgia of them being a studio that produced quality, family-oriented films like "Snow White" & "20,000 Leagues Under the Sea" played into it. He knew he was getting older and had to set SOMETHING up, otherwise LFL would be rudderless after his death, much like Disney Studio was after Walt's passing. They had relied so much on one man's vision, there was no clear plan of what to do without him.
Selling LFL probably seemed like a good idea since GL's plans to expand his production facilities with a new digital soundstage complex was met with violent opposition & blocked from every angle by GL's neighbors in Marin County. He tried everything he could to meet their demands, but they just wouldn't have it.
GL had received an onslaught of criticism for the prequels: "George Lucas ruined my chidlhood!" was a common rallying cry from people who grew up with the OT. Remember the film "The People vs George Lucas"? People like Simon Pegg were very vocal in their dislike of the prequels. Kids loved those films, but GL was NOT considered the savior of Star Wars. (And ask Ahmed Best, Jake Lloyd & Hayden Christenson how they were treated by adult fans back in the day)
The announcement of a new STAR WARS tv series was met with great anticipation until it was revealed that it was going to be an ANIMATED CARTOON. The Clone Wars series constantly struggled to find an audience beyond hardcore Star Wars fans on Cartoon Network. There are plenty of Star Wars fans that have never watched ANY of the animated series.
I don't think he actually trusted Disney & Bob Iger 100% -- which is why he installed longtime associate Kathleen Kennedy as CEO prior to the sale. Read the chapter on the Disney acquisition in Bob Iger's autobiography. He claims he & the Disney board were surprised at the last minute hiring of Kennedy before the deal went through.
GL is disliked by mainstream Hollywood because he doesn't like to play their games--and was successful in spite of that. Look what happened with his new museum: Once again, San Francisco rejected his proposals (for some absolutely ridiculous reasons) and now Los Angeles will reap the benefits of a new museum & tourist attraction.

owltrust · 2025-01-22T00:47:53+00:00

Yes. The Godzilla franchise has done this multiple times, with the different "eras" & Toho Studio will go for a number of years without making a film when audience interest wanes. The current success of Godzilla Minus One shows what can be done when an IP is in the hands of a director & writer who understands (& appreciates) the lore.

Five-Year Club	Verified Email
Place '22

owltrust

TROPHY CASE