Eastmancolor

The film was shot on 35mm and used eastmancolor.

The image filmed was captured on special 65mm Eastmancolor film stock.

Virtually all of these films were actually shot on Kodak's Eastmancolor film.

The Eastmancolor prints generally have faded to red.

This process' color was provided by Eastmancolor.

This effect was achieved by an EastmanColor section spliced into each print.

Later in the 1970's Blackhawk films released these for home use, but this time using conventional Eastmancolor film stock.

The film was then partially repaired with mylar and its Eastmancolor negative had tears at notches.

Unfortunately, the dyes in the far more common Eastmancolor print film, and some similar products from other manufacturers, are notoriously unstable.

Kodak Eastmancolor negatives were used for principal photography.

Although this certainly affected Technicolor, its real undoing was the invention of Eastmancolor that same year.

In 1952, Eastman Kodak introduced their first color negative film, Eastmancolor, to the market.

Santa Claus was filmed in Eastmancolor with a monaural soundtrack.

The first commercial feature film to use Eastmancolor was the documentary Royal Journey, released in December 1951.

It was shot in Eastmancolor and Cinemascope by Walter J. Harvey.

Lover Come Back is a 1961 Eastmancolor romantic comedy released by Universal Pictures.

Valley of the Kings is a 1954 Eastmancolor adventure film made by Metro-Goldwyn-Mayer.

The film was produced in Eastmancolor and Daieiscope for Daiei Film.

Released in December 1951, Royal Journey is also notable for being the first commercial feature film in Eastmancolor.

He was the first Indian Director Cinematographer to shoot 35mm Eastmancolor films in Antarctica.

Unlike Cinecolor, however, the film was not dyed with a toner but a color coupler, similar to Eastmancolor film.

Prior to the introduction of a longer-lasting "low fade" type in 1979, Eastmancolor prints routinely suffered from easily seen color shift and fading within ten years.

It also made Eastmancolor prints, did commercial film processing and printing of non-theatrical films, and black-and-white film processing for television.

The cinematography was by Ernest Steward, and it was filmed in a 1.66:1 aspect ratio on Eastmancolor film.

This modification also facilitated the early experiments by Eastman Kodak with its negative-positive monopack film, which eventually became Eastmancolor.