Cinecolor was an early subtractive color-model two color film process, based upon the Prizma system of the 1910s and 1920s and the Multicolor system of the late 1920s and 1930s. It was developed by William T. Crispinel and Alan M. Gundelfinger, and its various formats were in use from 1932 to 1955.

How Cinecolor worked

A bi-pack color process, the photographer would load a standard camera with two films, one orthochromatic, dyed red, and a panchromatic strip behind it. Color light would expose the cyan record on the ortho stock, which also acted as a filter, exposing only red light to the panchromatic film stock.

In the laboratory, the negatives were processed on duplitized film and each emulsion was toned red or cyan.

While Cinecolor could produce vibrant reds, oranges, blues, browns and flesh tones, its renderings of other colors such as bright greens (rendered dark green) and purples (rendered a sort of dark magenta) were muted.

History

The Cinecolor process was invented in 1932 by English-born cinematographer William T. Crespinel (1890–1987), who joined the Kinemacolor Corporation in 1906, and who went to New York in 1913 to work with Kinemacolor's American unit. After that company folded in 1916, he worked for Prizma, another color film company, founded by William Van Doren Kelley. He later worked for Multicolor, and patented several inventions in the field of color cinematography.

Crespinel founded Cinecolor, Inc. (later Cinecolor Corporation) in 1932 as a response to the success of the Technicolor Corporation, which held a partial monopoly on motion picture color. William Loss, a director of the Citizens Traction Company in New York, was its principal investor. The company bought four acres of land in Burbank, California for its processing plant. Crespinel retired as president of Cinecolor in 1948.

The company was largely founded on the patents and equipment of William Van Doren Kelley and his Prizma Color system, and was in direct competition with Multicolor, which folded in 1932. At that point, Cinecolor bought its equipment. Although limited in tone by comparison, Cinecolor's chief advantages over Technicolor were that color rushes were available within 24 hours, that the process itself only cost 25 percent more than black-and-white photography (the price grew cheaper as larger amounts of Cinecolor film stock were bought), and could be used in modified black-and-white cameras.

Before 1945, Cinecolor was used almost exclusively for short films. From 1932 to 1935, Cinecolor was used in at least 22 cartoons -- including Max Fleischer cartoons for Paramount and Ub Iwerks for MGM -- the period when Walt Disney held an exclusive contract with the Technicolor for the use of three-color Technicolor for animation. Among the notable animated short subjects series made in Cinecolor were Ub Iwerks' ''ComiColor'' cartoons, a number of late-1940s Warner Bros. ''Looney Tunes'' and ''Merrie Melodies'', and many of Famous Studios' late-1940s ''Popeye the Sailor'' cartoons. (The 1940s cartoons were more than likely actually produced in Technicolor but had their original releases processed by Cinecolor, since when viewed side-by-side with 1930s Cinecolor entries, there is a very noticeable difference in how many different colors are used.)

The first feature-length pictures released in Cinecolor were the documentary feature ''Sweden, Land of the Vikings'' (1934) and the independently made western ''The Phantom of Santa Fe'' (1936, but filmed in Multicolor in 1931), followed by Monogram Pictures' release ''The Gentleman From Arizona'' (1939). No other Cinecolor features followed until 1945. Low-budget companies such as Monogram, Producers Releasing Corporation, and Screen Guild Productions were Cinecolor's chief employers. A 1945 PRC Cinecolor release ''The Enchanted Forest'' was the highest grossing film of that studio. The commercial and critical success of the film led both major and minor studios to use Cinecolor such as MGM's ''Gallant Bess'' (1946). The system could produce acceptable color pictures at a fraction of what Technicolor cost. Most features made in Cinecolor were westerns, because the primary colors in those films were blues, browns and reds.

Cinecolor was also prominently employed in processing Paramount's ''Popular Science'' series of short films -- although later prints were made by Consolidated Film Industries under their Magnacolor process. Hal Roach Studios made all four of its features in Cinecolor in 1947–1948, becoming the first Hollywood studio to do an all-color schedule. The last American feature released in Cinecolor was Allied Artists' ''Pride of the Blue Grass'' (1954).

Republic Pictures began using CFI's Trucolor from the end of 1946 for a variety of films ranging from Westerns, travelogues, and epics of the life of Richard Wagner (''Magic Fire'') and the battle of the Alamo (''The Last Command''). Trucolor differed, however, in that it used a dye-coupler already built into the film base, rather than the application of chemical toner.

SuperCineColor

The year 1948 was a major one for the Cinecolor Corp. Aside from growing stock prices, they introduced a new, hyper-sensitive stock and film magazines, which cut back on the on-set lighting costs by 50 percent, and kept the cost of shooting in Cinecolor only 10 percent more than black and white.

The same year, Gundelfinger also developed a three-color process called SuperCineColor, but did not begin using it until 1951 with ''The Sword of Monte Cristo''. Other films of note that used the SuperCinecolor process were ''Abbott and Costello Meet Captain Kidd'' (1952), ''Jack and the Beanstalk'' (1952), ''Invaders From Mars'' (1953), ''Gog'' (1954), and ''Top Banana'' (1954). The latter two were both also filmed in 3-D.

SuperCineColor utilized black-and-white matrices made primarily by monopack color negatives made with Ansco/Agfa, DuPont, Kodachrome, or the popular Eastmancolor film, for principal photography. After the negative was edited, it was copied through color filters into three black-and-white negatives. An oddity of the system was that rather than use the typical cyan, magenta and yellow primary subtractive colors, SuperCineColor printed their films with red, blue and yellow matrices in order to create a system that was compatible with the previous printers. The result of the combination of color spectra was an oddly striking look to the final print.

Printing SuperCineColor was not a difficult process as it was engineered to utilize the old process' equipment. Using duplitized stock, one side contained a silver emulsion toned red-magenta, and on the other side, cyan-blue. A yellow layer was added on the blue side through means of imbibition. The soundtrack was subsequently applicated on the blue-yellow side in a blue soundtrack, but separate from those records. The final prints had vivid dyes that did not fade, were of acceptable grain structure and sharp in focus. The common perception of Cinecolor prints being grainy and not easily focused is perpetrated by 16 mm, regular-process Cinecolor prints, where these elements are an issue.

The last years of Cinecolor

Cinecolor Corp. operated at a net loss from 1950 through 1954, partly because the weak financial position of its division in England made it necessary for the parent company to refinance it, and partly because of its own operating losses. Donner Corporation, a private investment organization, acquired Cinecolor Corp. in June 1952. In 1953, it became the Color Corporation of America, and specialized in SuperCineColor printing, as well as being a major Anscocolor processor. It also made Eastmancolor prints, did commercial film processing and printing of non-theatrical films, and black-and-white film processing for television. To stimulate its theatrical film business, Color Corp. financed independent movie producers. The last theatrical feature with a SuperCineColor credit was ''The Diamond Queen'', released by Warner Bros. in November 1953. Thereafter, "Color by Color Corp. of America" was used for films like ''Shark River'' (1953) and ''Top Banana'' (1954).

Color Corporation of America was bought out on April 8, 1954 by Houston Color Film Laboratories, which processed Anscocolor at its plant in Los Angeles, and Houston Fearless Corp., which made processing and developing equipment. It became strictly an Anscocolor processor. Color Corp. sold its film processing laboratory in mid-1955 to provide its television and motion picture equipment-making division a laboratory in which to test its equipment, and the corporation was dissolved.

References

Further reading

John Belton, "Cinecolor," ''Film History'' 12:4 (2000), pp. 344-357.

Gene Fernett, ''Hollywood's Poverty Row 1930-1950'' (Coral Reef Publications, 1973), pp 15-19.

See also

Color film (motion picture)

Color photography

List of color film systems

List of film formats

Multicolor

Prizma

Technicolor

Trucolor

External links

Cinecolor History at The American Widescreen Museum

Category:Film and video technology

fi:Cinecolor

bgcolour	silver
name	Ub Iwerks
birth name	Ubbe Ert Iwwerks
birth date	March 24, 1901
birth place	Kansas City, Missouri, U.S.
death date	July 07, 1971
death place	Burbank, California, U.S.
occupation	Animator, cartoonist, film producer, special effects technician
years active	1920–1965
children	Don Iwerks Great Grandchildren Juliane }}

Ub Iwerks, A.S.C. (; March 24, 1901 – July 7, 1971) was a two-time Academy Award winning American animator, cartoonist, character designer, inventor, creator of Mickey Mouse, and special effects technician, who was famous for his work for Walt Disney.

He is father to Disney Legend Don Iwerks and grandfather to documentary film producer Leslie Iwerks.

He was born Ubbe Ert Iwwerks in Kansas City, Missouri.

His name is explained by his Frisian roots; his father, Eert Ubbe Iwwerks, emigrated to the USA in 1869 from the village of Uttum in East Frisia (northwest Germany, today part of the municipality of Krummhörn). Ub's birth name can be seen on early “Alice” shorts that he signed. Several years later he simplified his name to “Ub Iwerks”.

Career

Iwerks was considered by many to be Walt Disney's oldest friend, and spent most of his career with Disney. The two met in 1919 while working for the Pesmen-Rubin Art Studio in Kansas City, and would eventually start their own commercial art business together. Disney and Iwerks then found work as illustrators for the Kansas City Slide Newspaper Company (which would later be named The Kansas City Film Ad Company). While working for the Kansas City Film Ad Company, Disney decided to take up work in animation, and Iwerks soon joined him.

He was responsible for the distinctive style of the earliest Disney animated cartoons, and was also responsible for creating Mickey Mouse. In 1922, when Walt began his Laugh-O-Gram cartoon series, Iwerks joined him as chief animator. The studio went bankrupt, however, and in 1923 Iwerks followed Disney's move to Los Angeles to work on a new series of cartoons known as “the Alice Comedies” which had live action mixed with animation. After the end of this series, Disney asked Iwerks to come up with a new character. The first Oswald the Lucky Rabbit was animated entirely by Ub Iwerks. Following the first cartoon, Oswald was redesigned on the insistence of Universal, who agreed to distribute the new series of cartoons in 1927.

In the spring of 1928, Disney lost control of the Oswald character, and much of his staff was hired away; Disney left Universal soon afterwards. He promised never to work with a company he did not own ever again. Disney asked Ub Iwerks, who stayed on, to start drawing up new character ideas. Iwerks tried sketches of frogs, dogs, and cats, but none of these appealed to Disney. A female cow and male horse were created at this time by Iwerks, but were also rejected. They would later turn up as Clarabelle Cow and Horace Horsecollar. Ub Iwerks eventually got inspiration from an old drawing. In 1925, Hugh Harman drew some sketches of mice around a photograph of Walt Disney. These inspired Ub Iwerks to create a new mouse character for Disney, eventually called Mickey Mouse.

The first few Mickey Mouse and Silly Symphonies cartoons were animated almost entirely by Iwerks. However, as Iwerks began to draw more and more cartoons on a daily basis, he soon found himself unable to cope under Disney's harsh command; Iwerks also felt he wasn't getting the credit he deserved for drawing all of Walt's successful cartoons. Eventually, Iwerks and Disney had a falling out; their friendship and working partnership were severed when Iwerks accepted a contract with Disney competitor Pat Powers to leave Disney and start an animation studio under his own name. (Powers and Disney had an earlier falling-out over Disney's use of the Powers Cinephone sound-on-film system—actually copied by Powers from DeForest Phonofilm without credit—in early Disney cartoons.) The Iwerks Studio opened in 1930. Financial backers led by Pat Powers suspected that Iwerks was responsible for much of Disney's early success. However, while animation for a time suffered at Disney from Iwerks' departure, it soon rebounded as Disney brought in talented new young animators.

Despite a contract with MGM to distribute his cartoons, and the introduction of a new character named “Flip the Frog”, and later “Willie Whopper”, the Iwerks Studio was never a major commercial success and failed to rival either Disney or Fleischer Studios. From 1933 to 1936 he produced a series of shorts (independently distributed, not part of the MGM deal) in Cinecolor, named ComiColor Cartoons. The ComiColor series included Little Black Sambo, a racially stereotyped work that was eventually banned in the United States. In 1936 backers withdrew financial support from the Iwerks Studio, and it folded soon after.

In 1937, Leon Schlesinger Productions contracted Iwerks to produce four ''Looney Tunes'' shorts starring Porky Pig and Gabby Goat. Iwerks directed the first two shorts, while former Schlesinger animator Robert Clampett was promoted to director and helmed the other two shorts before he and his unit returned to the main Schlesinger lot. Iwerks then did contract work for Screen Gems (then Columbia Pictures' cartoon division) before returning to work for Disney in 1940. (The cartoons created by Iwerks' own studio remained largely unseen for many decades, but have been released to DVD by several companies.)

After his return to the Disney studio, Iwerks mainly worked on developing special visual effects. He is credited as developing the processes for combining live action and animation used in ''Song of the South'' (1946), as well as the xerographic process adapted for cel animation. He also worked at WED Enterprises, now Walt Disney Imagineering, helping to develop many Disney theme park attractions during the 1960s. Iwerks did special effects work outside the studio as well, including his Academy Award nominated achievement for Alfred Hitchcock's ''The Birds'' (1963).

Iwerks' most famous work outside creating and animating Mickey Mouse was Flip the Frog for his own studio. Iwerks was known for his fast work at drawing and animation and his wacky sense of humor. Animator Chuck Jones, who worked for Iwerks' studio in his youth, said “Iwerks is ''Screwy'' spelled backwards.” Ub Iwerks died in 1971 of a heart attack in Burbank, California, aged 70.

A documentary film, ''The Hand Behind the Mouse: The Ub Iwerks Story'' was released in 1999, followed by a book written by Leslie Iwerks and John Kenworthy in 2001. The documentary, created by Iwerks' granddaughter Leslie Iwerks, was released as part of The Walt Disney Treasures, Wave VII series.

Influence and homages

A rare self portrait of Iwerks was found in the trash at an animation studio in Burbank. The portrait was saved and is now part of the Animation Archives in Burbank, California.

After World War Two, much of Iwerks' early animation style would be imitated by legendary anime artists Osamu Tezuka and Shōtarō Ishinomori.

Iwerks Entertainment, a filmographic company, was founded in 1985 in honor of Ub Iwerks.

The 1986 DC Comics character Dr. Ub'x was named in his honor.

In 1989, Iwerks was named a Disney Legend.

In the ''The Ren and Stimpy Show'' episode Superstitious Stimpy, Stimpy is chanting in garbled talk and mentions Ub Iwerks.

In the 1996 ''The Simpsons'' episode "The Day the Violence Died", a relationship similar to Iwerks' early relationship with Walt Disney is used as the main plot.

In the 2005 ''Fairly OddParents'' episode "The Good Ol'Days", Timmy and his Grandpa Pappy are transported to an early Disney-style cartoon. In it, two street signs that intersect are named Ub and Iwerks.

References

Further reading

Leslie Iwerks and John Kenworthy, ''The Hand Behind the Mouse'' (Disney Editions, 2001) and documentary of the same name (DVD, 1999)

Leonard Maltin, ''Of Mice and Magic: A History of American Animated Cartoons'' (Penguin Books, 1987)

Jeff Lenburg, ''The Great Cartoon Directors'' (Da Capo Press, 1993)

External links

Disney Legends

Category:1901 births Category:1971 deaths Category:People from Kansas City, Missouri Category:American animators Category:American cartoonists Category:Animated film directors Category:Frisian people Category:American artists of German descent Category:Special effects people Category:Academy Award winners

ar:أب أيوركس ca:Ub Iwerks cs:Ub Iwerks de:Ub Iwerks es:Ub Iwerks fr:Ub Iwerks ko:어브 아이웍스 id:Ub Iwerks it:Ub Iwerks ms:Ub Iwerks nl:Ub Iwerks ja:アブ・アイワークス pt:Ub Iwerks ru:Айверкс, Аб simple:Ub Iwerks fi:Ub Iwerks sv:Ub Iwerks

name	Patricio Gutiérrez
fullname	Patricio Javier Gutiérrez
birth date	March 20, 1983
birth place	Curicó, Chile
currentclub	Deportes Iquique
clubnumber	4
position	Defender/Midfielder
youthclubs1	Deportes Antofagasta
years1	2005-2006
years2	2007
years3	2007-2009
years4	2009-2010
years5	2011
years6	2011-
clubs1	Deportes Antofagasta
clubs2	Unión La Calera
clubs3	Audax Italiano
clubs4	Curicó Unido
clubs5	San Luis Quillota
clubs6	Deportes Iquique
caps1	13
caps3	57
caps4	34
goals1	0
goals3	3
goals4	5
pcupdate	May 6, 2011
ntupdate	}}

Patricio Javier Gutiérrez (born March 20, 1983 in Curicó, Chile) is a Chilean footballer. He currently plays for San Luis Quillota. Gutiérrez can be utilized as a defender or midfielder. His nickname is "''Pato''."

Gutiérrez began his career in the youth ranks of Deportes Antofagasta and debuted on the adult squad in 2005. However, he did not get many chances with the first team and in 2007 moved to Primera B side Unión La Calera. Because of his good form he was signed by Primera División side Audax Italiano, where he immediately found his spot in the starting eleven.

External links

BDFA profile

Category:1983 births Category:Living people Category:Chilean footballers Category:Unión La Calera players Category:Audax Italiano players Category:Curicó Unido footballers Category:San Luis de Quillota footballers