Both negatives were processed and printed on duplitized film, and then each emulsion was toned its complementary color, red or blue. One strip was sensitive to red-orange, the other to blue-green ( cyan). Kelley's idea was two years in the making, but was a valid one which became the springboard for all future color systems to follow - two films were filmed simultaneously with a camera of his own design. On 28 December 1918, Kelley announced that Prizma would release a color film (usually a short) every week, a film which would be projectable on any standard projector. In counteracting this, Kelley had filed a patent in February 1917 which proved to be the foundation of Prizma's second color system. However, fringeing, flicker, and light loss were major issues which plagued not only Prizma, but also all of the other additive systems of the Kinemacolor nature.
To counteract the issue of having a special projector with a filter wheel, Kelley began tinting alternate frames of his film red and green. General reception to the system was positive, but the rotating filter wheel technique proved impractical. The first film shown in Prizma color was the feature Our Navy at the 44th Street Theatre in New York City on 23 December 1917. Projection involved running a colored disc again in synchronization with the black and white color record film, and through persistence of vision, the two frames combined on the screen to form a color image. The first commercial system of Prizma was similar to Kinemacolor in that the camera took alternating frames of red-orange and blue-green colors through color filters placed within the camera's shutter.
PRIZMO BANNERS FULL
Colors in full saturation are hardly within the scope of this process.
Yellow is not in evidence in the current Prizma films, although a wide variety of warm tones are apparent, ranging from chestnut-brown to a deep red-orange. We have not noticed anything approaching a true green in any of the subjects so far exhibited, although this is probably by reason of the fact that no prominent greens existed in the subjects photographed. The results by this process are characterized by extreme delicacy of color, and subdued shades are most admirably rendered.… The blue-green element of the projecting filter appears to favor the blue rather than the green, and as a result, skies and water are well reproduced. The disk used in projection consisted mainly of two colors, red-orange and blue-green, adapted to the four-color process by the superimposition of two small magenta filters over one of the red sectors and two similar blue filters over one of the blue-green sectors. The film was photographed at 26 to 32 frames per second, and projected at 32 frame/s. The colors were red, yellow, green, and blue, with overlapping wavelengths to prevent pulsating effects on the screen with vivid colors. Prizma gave a demonstration of color motion pictures in 1917 that used an additive four-color process, using a disk of four filters acting on a single strip of panchromatic film in the camera. However, Kelley eventually transformed Prizma into a bi-pack color system that itself became the predecessor for future color processes such as Multicolor and Cinecolor. Initially, it was a two-color additive color system, similar to its predecessor, Kinemacolor. The Prizma Color system was a color motion picture process, invented in 1913 by William Van Doren Kelley and Charles Raleigh.
William Van Doren Kelley and his invention, the Prizma color camera.
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