Yeah, it's kind of juvenile for sure, but I was amazed that this fairly esoteric process had it's own multimedia thingy.
You raise a good point though, we haven't really discussed the "taking" mechanism for this process at all. We've just taken for granted that we have 2 separations.
And to be honest, I don't know how they secured these seps! I believe that at some point, particularly with movie film, that they used a "duplitized" film stock, that is, 2 emulsions coated on either side of the film & appropriately sensitized. Then for processing, either side was floated on the appropriate dye bath.
But as for the big glass plates... anyone know?
I have never seen anyone make a Capstaff film, but I just finished watching some motion picture footage of Capstaff himself playing himself and a movie starlet! He really dressed the part! And, he and his friends had a lot of fun.
That's hilarious.. did you see a projection of the original film, or a reproduction of some sort? Only in Rochester! :D
I guess Capstaff's grandson is a painter in the Rochester area; he's got a blog somewhere and he talks a bit about both of his grandfathers. The other was a painter; so, also into color but from a different perspective.
What greater gift than to see in color!
This was a film with Capstaff, Sheppard, Trivelli, Ross, and Mees among others. It was very well done and very funny. Narration was by Dr."Knobby" Clark.
Amazing.. that sounds like a treasure.
Hmmm, holographic plates aren't cheap and they're as slow as molasses, if not slower. This seems a bit like going to the moon by way of Venus! If 4x5" or 8x10" film sags too much for registration, maybe you could sandwich them between two pieces of glass and shoot them in a spring-plate pressure plate.
For me, figuring out the dye process is paramount and everything else is secondary, but I can't fault you for being imaginitive.
An in-camera exposure on a holographic plate is going to be something like 2 minutes at f/8 in bright sunlight, or at least that's what it takes for a Lippmann developer (post #70).
A much simpler approach would be to take sequential exposures of a still-life, and/or, make separations of the red & green from regular color film.
You should look into true color toning, where the silver becomes C/M/Y. There was a process called Defender Chromatone that used this method. Unfortunately, the toning solutions where proprietary, but I think there are some formulas in Friedman's History.