AshigrainColour reversal · Experimental
Cinefotocolor
Spain's two-colour cinema of the early 1950s.
An orange to blue-green palette over a faint yellow tint on a flamenco scene. A model inspired by the process, not a reproduction. Original vs Ashigrain.
At a glance
- Exposure index
- 8
- Daylight
- Introduced
- 1948
- Discontinued
- Process
- Cinefotocolor two-colour print in one emulsion layer (tartrazine yellow, first record iron-toned blue, second record mordanted and dyed with a basic red)
- Prints on
- Reversal, viewed directly
About the film
Cinefotocolor was a two-colour process devised by Daniel Aragonés Puig at the Cinefoto laboratories in Barcelona, and released in France as Realcolor.
Aragonés patented it in Spain between 1946 and 1949, and the print process was also granted US patent 2,597,820 in 1952. The first Cinefotocolor feature, En un rincón de España, was shot in 1948 with a Debrie Super Parvo that ran one panchromatic negative at 48 frames per second behind alternating blue-green and red-orange filters, so fast movement left red and blue fringes. A later version split the light with a semi-reflecting prism onto two 35 mm black-and-white negatives at 24 frames per second, and Cinefoto owned two such cameras. The prints were ordinary black-and-white positive: one record was iron-toned to Prussian blue, the other mordanted and dyed with a basic red dye, and a tartrazine bath added a yellow tint that could be adjusted for each print. Eighteen of the thirty-five Spanish features made wholly or partly in colour between 1948 and 1954 used it, among them folk musicals starring Paquita Rico and Lola Flores, and Doña Francisquita and Duende y misterio del flamenco were its great successes. Its very low sensitivity and unstable baths made prints vary greatly from copy to copy, and the last film released in the process was Tres eran tres in 1954. Filmoteca Española restored Duende y misterio del flamenco in 1989, and new prints made in 1990 had their colour values supervised by Aragonés himself.
Sources for this history
- El Cinefotocolor: técnica, filmografía, análisis (PhD thesis, Universidad Carlos III de Madrid, 2016), Miguel Ángel Herrero Herrezuelo
- Cinefotocolor (Santiago Aguilar), Film Atlas (FIAF / George Eastman Museum)
- Cinefotocolor, Timeline of Historical Film Colors
- US Patent 2,597,820: Process for obtaining colored copies of cinematographic films (1952), Daniel Aragonés Puig
The look
Cinefotocolor was a Spanish two-colour process used for features from 1948 to 1954, printed on black-and-white positive that was toned, dyed and tinted yellow. Ashigrain's version is a labelled surrogate, a model inspired by the process rather than a reproduction. Expect an orange to blue-green palette over a faint yellow tint.
Best for
- Spanish folk musicals and period drama
- Flamenco and stage performance scenes
- Mid-century two-colour pastiche
Compare camera films
FilmSpeedGrain, RMS σD · lower means finer grainYears made
Ansco Color Negative 843Ansco Color Negative 843+1 stop vs Cinefotocolor · grain finerEI 16+1 stop.0041951
Gevacolor Negative T 6.51Gevacolor Negative T 6.51+1 stop vs Cinefotocolor · grain finerEI 16+1 stop.0071951
Technicolor Process IITechnicolor Process II+1 stop vs Cinefotocolor · grain the sameEI 16+1 stop.0191922
Trucolor (two-colour)Trucolor (two-colour)+1 stop vs Cinefotocolor · grain the sameEI 16+1 stop.0191945
Kodak Kodachrome 25Kodak Kodachrome 25+1⅔ stops vs Cinefotocolor · grain finerEI 25+1⅔ stops.0141974
Kodak Aerochrome III 1443Kodak Aerochrome III 1443+2⅓ stops vs Cinefotocolor · grain coarserEI 40+2⅓ stops.0292001
Kodak Vision3 50DKodak Vision3 50DMade since 2011, in production · +2⅔ stops vs Cinefotocolor · grain finerEI 50+2⅔ stops.0042011–
Fujifilm Velvia 50Fujifilm Velvia 50Made since 2007, in production · +2⅔ stops vs Cinefotocolor · grain finerEI 50+2⅔ stops.0112007–
Agfa Agfacolor Ultra 50Agfa Agfacolor Ultra 50+2⅔ stops vs Cinefotocolor · grain finerEI 50+2⅔ stops.0041995
Agfa Agfachrome RSX II 50Agfa Agfachrome RSX II 50+2⅔ stops vs Cinefotocolor · grain finerEI 50+2⅔ stops.0111998
Fujifilm Fujichrome 64T Type IIFujifilm Fujichrome 64T Type II+3 stops vs Cinefotocolor · grain finerEI 64+3 stops.0132002
Kodak Kodachrome 64Kodak Kodachrome 64Made 1974–2009 · +3 stops vs Cinefotocolor · grain finerEI 64+3 stops.0161974–2009
Ilford Ortho PlusIlford Ortho PlusMade since 1997, in production · +3⅓ stops vs Cinefotocolor · grain finerEI 80+3⅓ stops.0131997–
Kodak Ektar 100Kodak Ektar 100Made since 2008, in production · +3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0052008–
Kodak Ektachrome 100DKodak Ektachrome 100DMade since 2018, in production · +3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0132018–
Lucky Super GBR 100Lucky Super GBR 100+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0052001
Ferrania Solaris FG Plus 100Ferrania Solaris FG Plus 100+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0052002
Fujifilm Astia 100FFujifilm Astia 100FMade 2003–2012 · +3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0112003–12
Fujifilm Velvia 100Fujifilm Velvia 100Made since 2003, in production · +3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0112003–
Kodak Ektachrome E100SKodak Ektachrome E100S+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0151996
Agfa Agfacolor Optima II 100Agfa Agfacolor Optima II 100+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0051998
Agfa Agfachrome RSX II 100Agfa Agfachrome RSX II 100+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0111998
Kodak Ektachrome E100VSKodak Ektachrome E100VS+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0171998
Fujifilm Provia 100FFujifilm Provia 100FMade since 2000, in production · +3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0102000–
Kodak Ektachrome 100 Plus (EPP)Kodak Ektachrome 100 Plus (EPP)+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0181988
Fujifilm FP-100CFujifilm FP-100CMade 1992–2016 · +3⅔ stops vs Cinefotocolor · grain coarserEI 100+3⅔ stops.0221992–2016
Lomography Redscale XR 50-200Lomography Redscale XR 50-200+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0052025
Fomapan R 100Fomapan R 100Made since 1980, in production · +3⅔ stops vs Cinefotocolor · grain coarserEI 100+3⅔ stops.0211980–
Kodak T-Max 100Kodak T-Max 100Made since 1986, in production · +3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0081986–
Ilford Delta 100Ilford Delta 100Made since 1992, in production · +3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0071992–
Agfa Agfapan APX 100Agfa Agfapan APX 100+3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0071998
Fomapan 100 ClassicFomapan 100 ClassicMade since 2016, in production · +3⅔ stops vs Cinefotocolor · grain finerEI 100+3⅔ stops.0122016–
Eastman Color Negative 5247Eastman Color Negative 5247+4 stops vs Cinefotocolor · grain finerEI 125+4 stops.0051983
Kodak Portra 160Kodak Portra 160Made since 2011, in production · +4⅓ stops vs Cinefotocolor · grain finerEI 160+4⅓ stops.0062011–
Agfa Agfacolor Portrait XPS 160Agfa Agfacolor Portrait XPS 160+4⅓ stops vs Cinefotocolor · grain finerEI 160+4⅓ stops.0061995
Kodak Vision3 200TKodak Vision3 200TMade since 2010, in production · +4⅔ stops vs Cinefotocolor · grain finerEI 200+4⅔ stops.0062010–
Kodak Verita 200DKodak Verita 200DMade since 2026, in production · +4⅔ stops vs Cinefotocolor · grain finerEI 200+4⅔ stops.0062026–
Kodak Gold 200Kodak Gold 200Made since 2007, in production · +4⅔ stops vs Cinefotocolor · grain finerEI 200+4⅔ stops.0082007–
Lucky Super GBR 200Lucky Super GBR 200+4⅔ stops vs Cinefotocolor · grain finerEI 200+4⅔ stops.0072001
Ferrania Solaris FG Plus 200Ferrania Solaris FG Plus 200+4⅔ stops vs Cinefotocolor · grain finerEI 200+4⅔ stops.0052002
Kodak Ektachrome E200Kodak Ektachrome E200+4⅔ stops vs Cinefotocolor · grain finerEI 200+4⅔ stops.0181997
Agfa Agfachrome RSX II 200Agfa Agfachrome RSX II 200+4⅔ stops vs Cinefotocolor · grain finerEI 200+4⅔ stops.0141998
Kodak Kodachrome 200Kodak Kodachrome 200+4⅔ stops vs Cinefotocolor · grain coarserEI 200+4⅔ stops.0271986
Kodak Tri-X Reversal 7266Kodak Tri-X Reversal 7266Made since 2003, in production · +4⅔ stops vs Cinefotocolor · grain coarserEI 200+4⅔ stops.0242003–
Kodak Vision3 250DKodak Vision3 250DMade since 2009, in production · +5 stops vs Cinefotocolor · grain finerEI 250+5 stops.0062009–
Fujifilm Eterna 250DFujifilm Eterna 250DMade 2005–2013 · +5 stops vs Cinefotocolor · grain finerEI 250+5 stops.0052005–13
Kodak Vision 250DKodak Vision 250DMade 1997–2005 · +5 stops vs Cinefotocolor · grain finerEI 250+5 stops.0071997–2005
Kodak Aerocolor IV 2460Kodak Aerocolor IV 2460Made since 2009, in production · +5 stops vs Cinefotocolor · grain finerEI 250+5 stops.0132009–
Eastman Double-X 5222Eastman Double-X 5222Made since 1960, in production · +5 stops vs Cinefotocolor · grain finerEI 250+5 stops.0131960–
Kodak Portra 400Kodak Portra 400Made since 2010, in production · +5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0072010–
Fujifilm Provia 400FFujifilm Provia 400F+5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0172000
Ferrania Solaris FG Plus 400Ferrania Solaris FG Plus 400+5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0062004
Fujifilm Pro 400HFujifilm Pro 400HMade 2004–2021 · +5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0052004–21
Kodak Ektachrome 400XKodak Ektachrome 400X+5⅔ stops vs Cinefotocolor · grain coarserEI 400+5⅔ stops.0371992
Fujifilm Superia X-TRA 400Fujifilm Superia X-TRA 400+5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0052006
LomoChrome Color '92 Sun-kissedLomoChrome Color '92 Sun-kissed+5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0052024
Kodak Tri-X 400Kodak Tri-X 400Made since 1954, in production · +5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0171954–
Kodak T-Max 400Kodak T-Max 400Made since 2007, in production · +5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0102007–
Ilford HP5 PlusIlford HP5 PlusMade since 1989, in production · +5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0161989–
Ilford Delta 400Ilford Delta 400Made since 2002, in production · +5⅔ stops vs Cinefotocolor · grain finerEI 400+5⅔ stops.0102002–
Kodak Vision3 500TKodak Vision3 500TMade since 2007, in production · +6 stops vs Cinefotocolor · grain finerEI 500+6 stops.0072007–
Fujifilm Eterna Vivid 500Fujifilm Eterna Vivid 500Made 2009–2013 · +6 stops vs Cinefotocolor · grain finerEI 500+6 stops.0052009–13
Fujicolor Reala 500DFujicolor Reala 500D+6 stops vs Cinefotocolor · grain finerEI 500+6 stops.0052001
Kodak Vision2 Expression 500TKodak Vision2 Expression 500T+6 stops vs Cinefotocolor · grain finerEI 500+6 stops.0092003
Fujifilm Eterna 500Fujifilm Eterna 500Made 2004–2013 · +6 stops vs Cinefotocolor · grain finerEI 500+6 stops.0052004–13
Eastman EXR 500TEastman EXR 500TMade 1989–1995 · +6 stops vs Cinefotocolor · grain finerEI 500+6 stops.0081989–95
Kodak Portra 800Kodak Portra 800Made since 2000, in production · +6⅔ stops vs Cinefotocolor · grain finerEI 800+6⅔ stops.0092000–
Ferrania Solaris FG Plus 800Ferrania Solaris FG Plus 800+6⅔ stops vs Cinefotocolor · grain finerEI 800+6⅔ stops.0072004
Konica Centuria Super 1600Konica Centuria Super 1600+7⅔ stops vs Cinefotocolor · grain finerEI 1600+7⅔ stops.0072002
Kodak Ektachrome P1600Kodak Ektachrome P1600+7⅔ stops vs Cinefotocolor · grain coarserEI 1600+7⅔ stops.0501999
Kodak T-Max P3200Kodak T-Max P3200Made since 1988, in production · +8⅔ stops vs Cinefotocolor · grain finerEI 3200+8⅔ stops.0181988–
Ilford Delta 3200Ilford Delta 3200Made since 1998, in production · +8⅔ stops vs Cinefotocolor · grain the sameEI 3200+8⅔ stops.0191998–
Science & sources
A two-colour model inspired by the process, not a reproduction of Cinefotocolor. No curve, sensitivity or dye measurement exists, so every curve is generated from named assumptions guided by the patent, a doctoral thesis and an archive description; its MTF is borrowed from Kodak Vision3 50D and its grain from Kodak Ektachrome 100D.
Response curves and the evidence behind the model
Compare manufacturer data with Ashigrain’s response on the same axes. These curves show how the model is calibrated to its sources; they do not establish a match to photographed film.
Characteristic response
RMS granularity
Density variation (σD). Where the datasheet gives a single grain value, the response away from that point is an approximation.
| Channel | Density | Datasheet-based σD | Model σD |
|---|---|---|---|
| R | 0.3 | 0.0078 | 0.007666 |
| G | 0.3 | 0.005511 | 0.0054 |
| B | 0.3 | 0.009647 | 0.009628 |
| R | 0.6 | 0.014312 | 0.014066 |
| G | 0.6 | 0.011207 | 0.010982 |
| B | 0.6 | 0.022254 | 0.022209 |
| R | 1 | 0.022954 | 0.02256 |
| G | 1 | 0.019265 | 0.018878 |
| B | 1 | 0.038149 | 0.038073 |
| R | 1.5 | 0.029592 | 0.029083 |
| G | 1.5 | 0.028175 | 0.027608 |
| B | 1.5 | 0.059424 | 0.059306 |
| R | 2 | 0.030736 | 0.030207 |
| G | 2 | 0.033158 | 0.032492 |
Model limits
These images show the film model in use. Spectral response, lighting and viewing conditions include approximations. Halation, bloom, grain size, weave and flicker are not fully measured for each film. The look of real film also depends on development and print timing.
- This is a two-colour model inspired by Cinefotocolor, rather than a reproduction of the original process.
- No characteristic curve, spectral sensitivity, dye spectrum, MTF or grain measurement of Cinefotocolor exists in the sources. Every curve is generated from named assumptions, guided by the patent, a doctoral thesis and an archive description.
- The model runs the two records in a three-layer path: the blue layer copies the second record and carries no dye of its own.
- The Prussian blue and tartrazine absorptions are placed at textbook peaks, and the basic red dye is a named proxy chosen for a neutral grey. The tartrazine tint is a uniform density whose strength is assumed; the patent gives only an approximately 3 per cent bath.
- The exposure index of 8, the daylight balance and the single high-contrast tone curve are assumptions.
- Print-to-print variation, the colour fringing of the first camera version and the orthochromatic second negative are not modelled.
- MTF is proxied from Kodak Vision3 50D (5203) and grain from Kodak Ektachrome 100D (5294).
- Custom lighting spectra, camera metering and the spectral reflectance inferred from fixed-white-balance footage are assumptions used by the model, not measurements of this film.
- Push and pull have no published curves for this film and use a generic model.
- Characteristic response outside the published exposure range is an extrapolation, not measured film data.
- The available sources do not measure veiling flare during projection. The model approximates its contribution to lifted blacks on screen, so the result is not a measured projection contrast.
Reciprocity: not modelled. Exposure time has no effect on this film.
Film guide: assumptions and practical choices
Sources
- Reconstructed: M. A. Herrero Herrezuelo, El Cinefotocolor: tecnica, filmografia, analisis (PhD thesis, Universidad Carlos III de Madrid, 2016), e-Archivo handle 10016/23354, bitstream 7161a39b-76d8-4ec4-b9dc-40824ae90860 (404 pp, PDF built 2016-02-29); defended 2016-02-10, p. 98
- Process: US Patent 2,597,820, D. Aragones Puig, Process for obtaining colored copies of cinematographic films (filed 1949-01-25, issued 1952-05-20), Google Patents image of US2597820A (OCR text layer); Spanish priority 1948-01-30, p. 1