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technicolor, digital projections
> BTW. We have also thought of another thing. Since the digital projection is an additive
> process it will be able to display technicolor. An interesting angle...
There's a little confusion here. TI DLP projectors *are* additive, like
CRTs. However they are not constrained by the colors available through
phosphor chemistry, so their gamut can be wider. Additive systems have a
triangular or (in highlights) hexagonal gamut in CIE chromaticity space.
Technicolor (a.k.a. IB, dye transfer, or imbibition color) is a
subtractive process, like conventional ECP. It is not constrained by the
dye chemistry requirements of silver-halide photoprocessing, so its
gamut can conceivably be wider than color print (not clear that this is
true in practice) and its permanence is dramatically better. Subtractive
systems have a "bloated triangle" gamut shape in chromaticity space.
Depending on the value (brightness) and hue, film gamut often exceeds
CRT in particular regions of color space, but CRT & DLP projection often
exceed film in other regions.
The upstart Technicolor dye-transfer competitors, Chromax, seem to have
dropped from the scene. And Technicolor's IB revival doesn't seem to be
moving very fast.
Has anybody out there done telecine transfers from Technicolor IB print?
Any big differences from ECP? Just curious.
Thanks to Bob Kertesz and Peter Wallace for suport in 1999.
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