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I don't want hard feelings and have no wish to leave you with the impression that I was calling YOU "intellectually lazy." I don't know you and I would never say that. I said your specific RESPONSE (that it didn't matter because no one alive cares) was an intellectually lazy one.

I was counting that dye layer as the "filter" but I get your point (words matter! lol) and stand corrected!

People who don't care about technical details aren't likely to be referring to them as anything. If people want to use terms without knowing their meaning, then they should be taught what a term actually means. What they do with it after that is not my business but we should at least be...

No No NO!!! It's high time we completely get the "two-strip" misnomer out of our collective vocabulary once and for all. Let's stop making excuses for people who refer to ANY two-color film between 1918 and 1932, cemented or dye-transfer, as "two-strip." It remains entirely wrong and coming...

Yes, I have. They're wonderful.

It's a great series! I DO have a little bit of a quibble with the fact that the narrator simplifies the subtractive dyes as "red" and "green" as it might mislead people into thinking that they used pure red and pure green. R&G was fine using the Additive color system (as in Technicolor #1) as...

Based strictly on the great stuff found in The Black Camel (1931) alone (the one surviving example we have from Charlie's "pre-world tour" era) I would have to heartily agree with you. Charlie Chan in Paris (1935) was originally one of those titles thought irretrivably lost so, here's to hoping!

They were not printed that way. This whole "debate" (as far as I can tell) seems to stem from one guy who keeps posting on YouTube about a special, secret, "proprietary" process that Technicolor used in order to put more blue in certain two-color scenes if the producers were willing to "pay...