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The article states,
Perhaps an explanation is in order on what one has to do with the other. I don't see the connection between film magazine size and lighting costs. — Walloon 19:02, 6 June 2006 (UTC)
I have deleted this section from the article:
This isn't an article about Trucolor, and Trucolor had no corporate relationship to Cinecolor. They both happen to be two-color motion picture processes, and that's it. If this were an article about two-color motion picture processes, it would be appropriate. — Walloon 06:08, 5 August 2006 (UTC)
That article states that Technicolor had a "partial monopoly" on color processes.
A "partial" monopoly is not a monopoly at all. —Preceding unsigned comment added by 68.90.218.224 ( talk) 17:02, 9 June 2008 (UTC)
I have removed:
All the information I have is that Grand National Films used Magnacolor, not Cinecolor, as the process behind "Hirlicolor". Sources: AFI Catalog of Motion Pictures entries for those Grand National features, and the article "Posting a Dark Horse", The New York Times, August 2, 1936, p. X3. I have not seen any information that Cinecolor owned Magnacolor. Magnacolor appears to have been the predecessor of Consolidated Film Industries' TruColor. — Walloon ( talk) 18:57, 12 June 2008 (UTC)
Cinecolor was not really used "extensively" for cartoons in the period 1932–1935. It was used for one Fleischer cartoon (Betty Boop in Poor Cinderella), none of Columbia's "Color Rhapsody Cartoons", none of the TerryToons, two Merrie Melodies cartoons (Honeymoon Hotel and Beauty and the Beast), none of the Looney Tunes, two of MGM's Happy Harmonies cartoons (The Discontented Canary and The Old Pioneer), and Ub Iwerks' ComiColor series that began in November 1933. — Walloon ( talk) 17:52, 12 June 2008 (UTC)
I'd say that that's far more notable than, say, Brewster Color, which only had two cartoons that I know of to its credence. Cinecolor was the choice of animators who couldn't use Technicolor, seldom any other process. - The Photoplayer 20:47, 12 June 2008 (UTC) --
According to Leslie Cabarga, The Fleischer Story, (Nostalgia Press, 1976) p. 87, the Fleischers used Cinecolor from their first color short, Poor Cinderella (released August 1934) through March 1935, when they switched to two-strip Technicolor. If Cabarga is correct, then several other Fleischers were made with the Cinecolor process, assuming that Cabarga is referring to release dates rather than dates of production: Little Dutch Mill (October 1934); An Elephant Never Forgets (January 1935); The Song of the Birds (February 1935). What is the evidence that only one cartoon was made in Cinecolor? -- Walterburns ( talk) 18:07, 15 January 2009 (UTC)
Hello Wizards of Cinecolor. I've recently been enjoying several films produced and credited to Cinecolor that are shown in excellent prints on my HDTV. I've read some feature films credited to Cinecolor were filmed in Kodachrome. Could you elaborate if there is a difference between those two processes and if there is, why a film shot in Kodachrome was credited as Cinecolor? Thanks Foofbun ( talk) 01:11, 3 February 2012 (UTC)
To clear things up, even in this day and age film stock used for shooting might vary from the stock for theatrical release. Nowadays both kinds of film stock are mentioned and appear with their logos at the end of the credits. Such was the relation back then for Kodachrome and Cinecolor, but only the process for the release was billed on the poster. — Preceding unsigned comment added by 176.2.81.94 ( talk) 09:47, 6 September 2015 (UTC)
This article is rated Start-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | ||||||||||||||
|
The article states,
Perhaps an explanation is in order on what one has to do with the other. I don't see the connection between film magazine size and lighting costs. — Walloon 19:02, 6 June 2006 (UTC)
I have deleted this section from the article:
This isn't an article about Trucolor, and Trucolor had no corporate relationship to Cinecolor. They both happen to be two-color motion picture processes, and that's it. If this were an article about two-color motion picture processes, it would be appropriate. — Walloon 06:08, 5 August 2006 (UTC)
That article states that Technicolor had a "partial monopoly" on color processes.
A "partial" monopoly is not a monopoly at all. —Preceding unsigned comment added by 68.90.218.224 ( talk) 17:02, 9 June 2008 (UTC)
I have removed:
All the information I have is that Grand National Films used Magnacolor, not Cinecolor, as the process behind "Hirlicolor". Sources: AFI Catalog of Motion Pictures entries for those Grand National features, and the article "Posting a Dark Horse", The New York Times, August 2, 1936, p. X3. I have not seen any information that Cinecolor owned Magnacolor. Magnacolor appears to have been the predecessor of Consolidated Film Industries' TruColor. — Walloon ( talk) 18:57, 12 June 2008 (UTC)
Cinecolor was not really used "extensively" for cartoons in the period 1932–1935. It was used for one Fleischer cartoon (Betty Boop in Poor Cinderella), none of Columbia's "Color Rhapsody Cartoons", none of the TerryToons, two Merrie Melodies cartoons (Honeymoon Hotel and Beauty and the Beast), none of the Looney Tunes, two of MGM's Happy Harmonies cartoons (The Discontented Canary and The Old Pioneer), and Ub Iwerks' ComiColor series that began in November 1933. — Walloon ( talk) 17:52, 12 June 2008 (UTC)
I'd say that that's far more notable than, say, Brewster Color, which only had two cartoons that I know of to its credence. Cinecolor was the choice of animators who couldn't use Technicolor, seldom any other process. - The Photoplayer 20:47, 12 June 2008 (UTC) --
According to Leslie Cabarga, The Fleischer Story, (Nostalgia Press, 1976) p. 87, the Fleischers used Cinecolor from their first color short, Poor Cinderella (released August 1934) through March 1935, when they switched to two-strip Technicolor. If Cabarga is correct, then several other Fleischers were made with the Cinecolor process, assuming that Cabarga is referring to release dates rather than dates of production: Little Dutch Mill (October 1934); An Elephant Never Forgets (January 1935); The Song of the Birds (February 1935). What is the evidence that only one cartoon was made in Cinecolor? -- Walterburns ( talk) 18:07, 15 January 2009 (UTC)
Hello Wizards of Cinecolor. I've recently been enjoying several films produced and credited to Cinecolor that are shown in excellent prints on my HDTV. I've read some feature films credited to Cinecolor were filmed in Kodachrome. Could you elaborate if there is a difference between those two processes and if there is, why a film shot in Kodachrome was credited as Cinecolor? Thanks Foofbun ( talk) 01:11, 3 February 2012 (UTC)
To clear things up, even in this day and age film stock used for shooting might vary from the stock for theatrical release. Nowadays both kinds of film stock are mentioned and appear with their logos at the end of the credits. Such was the relation back then for Kodachrome and Cinecolor, but only the process for the release was billed on the poster. — Preceding unsigned comment added by 176.2.81.94 ( talk) 09:47, 6 September 2015 (UTC)