Talk:Color motion picture film

message: I'm not so hot on this section - I don't think that it's a bad thing to be listed, but perhaps it would be better placed in a list article, such as list of motion picture film stocks? Which could then be broken down in available and discontinued stocks, and by manufacturer, and so on... But in this article, it just looks wrong. IM(H?)O. Girolamo Savonarola 22:03, 7 July 2006 (UTC)
replies: text: Heh. You are pretty keen to catch my afterthoughts. :) Again - I agree. The article is fine without it. Would a list of that kind really merit it's own article? I could easily contribute Kodak to the old EXR stocks... But beyond that I'd have to do some digging. If you want to pull this section, I'm cool with that. LACameraman 01:09, 8 July 2006 (UTC)
thread_title: Current color film stocks

message: The shot of undeveloped film , looks almost like Unexposued but developed film as it just is an Orngish COlor.  Perhaps a shot of a stip with a twist to show both sides?  The black coating is mentioned in the article and it is one way that MP Negative is differnt from Still film
:Please sign your comments. It's a good suggestion. I tried to scan the non-emulsion side, but it only comes off as back - very hard to represent. Perhaps I'll shoot a picture of both... I'll try that soon. LACameraman 03:23, 9 July 2006 (UTC)
replies: text: I went to bed last night with the naging feeling that I forgot to sign the post.= sorry guys.  cmacd 01:27, 10 July 2006 (UTC)
thread_title:  Picture sugestion.. 

message: I've changed the term tri-pack (which technically means three-strip) to monopack, as that's the more common terminology among laboratories.  I've also taken away most of the references to how long low-fade stocks can last-- those printed on acetate stock will certainly have their base disintegrate within a couple of hundred years and it is impossible to project how long any format will last, Estar or Acetate aside.
I've also changed some terminology in the subtractive color sections.  Rather than glorifying Technicolor (which has already been done on that page's article and technically goes against NPOV), which certainly wasn't the first subtractive color format, I think we should also focus on other, early and pioneering formats such as Prizmacolor, which offshot many other processes such as Multicolor and Cinecolor.  I realize that published information is either hard to find or non-extant on some of this stuff, but there is enough out there to cite some general information.  
I've also noticed that while subtractive and general additive systems are covered, there is absolutely nothing to be said about lenticular additive film, which was in use all the way into the 1960s with color TV kinescopes.  Keller-Dorian and Kodacolor should be the main examples.
Also, is anyone else up for creating a chart of natural color systems over the years? The Photoplayer 20:34, 15 July 2006 (UTC)
replies: text: I would definitely be up for doing a chart; I already hatched back-burner plans after making my list of film formats and adding red links to charts for color and 3D systems each. I've been very busy this past week, and that won't likely change until the end of the month, but I'd be happy to consult, especially in the devising of a good chart format and breakdown. Girolamo Savonarola 20:38, 15 July 2006 (UTC)
thread_title: Modern stocks

message: Actually, the Kodak H1 says that the individual color layers are about 0.0003" (about 8 μm).  The entire film is presumed to be much thicker than this (it's typically on the order of 0.0060" or 150 μm).
The article claims that the film is 0.0003" thick.  This is thin indeed.
I don't feel qualified to correct the article, but it should probably be corrected.
67.101.123.107 (talk) 20:43, 2 May 2009 (UTC)
thread_title:  Film thickness 

message: "When the exposed silver-halide crystal is developed, it is coupled with a dye grain of its complementary color."
This is incorrect. The development of exposed silver halide caused the developer in the vicinity to be oxidised. The oxidised developer reacts with a dye coupler to produce a cloud of complementary coloured dye.
"This forms a dye 'cloud' (like a drop of water on a paper towel)..."
How can a dye cloud be likened to a drop of water on a paper towel? This doesn't make any sense at all. 83.104.249.240 (talk) 01:57, 12 May 2012 (UTC)
thread_title:  How modern colour film works 

message: would some mention of Edward Raymond Turner be appropriate? seems he successfully recorded a colour film in 1899, by using colour filters to split the image into seperations, and then recording those seperatations on to seperate monochrome frames. playback didn't work at the time, but the process would have worked if the projector had actually followed it --82.47.140.47 (talk) 04:59, 14 September 2012 (UTC)
thread_title:  Edward Raymond Turner 

message: Hello fellow Wikipedians,
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thread_title:  External links modified 

message: "The few color films still being made in the 2010s are of this type."
Unless modern films are somehow not called "color film", I think this needs to be a bit more specific. Bataaf van Oranje (Prinsgezinde) (talk) 16:08, 4 September 2017 (UTC)
thread_title: Probably not the right wording

message: — Assignment last updated by Carol.G.Higgins (talk) 01:53, 25 March 2023 (UTC)
thread_title: Wiki Education assignment: 20th-21st Century Art, Performance and Media

message: Hello Wikipedia Family,
I would like to contribute to this article by adding information regarding the psychological and theoretical uses of color in film. I cannot find another article that addresses the topic, so I think this would be the best place for a subheading. There are however articles that can be cross-referenced such as Theory of Colours and Color theory. I believe it is a strong enough topic to have its own page, so perhaps my contribution will attribute to moving forward in that regard.
I have provided a couple of academic resources below I would be referencing. Let me know your thoughts.
Flueckiger, None Barbara. “A Digital Humanities Approach to Film Colors.” The Moving Image, vol. 17, no. 2, University of Minnesota Press, Jan. 2017, p. 71. https://doi.org/10.5749/movingimage.17.2.0071.
Murray, Susan. Bright Signals: A History of Color Television. Duke UP, 2018.
—~~~~ Carol.G.Higgins (talk) 03:32, 29 March 2023 (UTC)
thread_title:  Contribution: Psychological and theoretical uses of color in film