I found this at cinematographer website. It is about filters and their use at technicolor process.

>The 1956 production of MOBY DICK was shot in Technicolor and so >muted that when the film started you wondered if it was color or just a >tinted stock.

Actually it was shot on Eastmancolor 5248 (25 ASA tungsten) and printed using Technicolor's dye transfer process. What gave the prints that unique look (and the studio only allowed half the prints to be made this way) was that the three B&W positive separations made from the monopack Eastmancolor negative used "broad" or "wide cut" filters instead of the correct "narrow" or "clean cut" filters.

This means that the separate red, green, and blue records on the B&W positive "matrices" still contained information from the other two colors. When recombined using the dye transfer method onto the blank receiver, a very desaturated and somewhat low-contrast image resulted.

Technicolor Labs had developed this technique to make prints for film-chain transfers to TV. Ozzie Morris saw one of these prints being screened at Technicolor and decided to use that approach for "Moby Dick". The only problem was the low-contrast look, which they didn't want. Luckily, Technicolor still had set-up in their dye transfer printing line a fourth pass for adding a silver "key" image, used in the 1930's to improve the blacks in the print but discontinued when the process was improved and didn't need the silver key image, allowing the stronger color saturation of late 1930's dye transfer prints.

John Huston and Ozzie Morris did shoot "Moulin Rouge" using the 3-strip Technicolor camera process but it was discontinued by the time of "Moby Dick."

John Huston wanted to use the same printing technique on "Reflections In a Golden Eye" as he did on "Moby Dick" but by then, Technicolor had removed the fourth silver key printer from the dye transfer line-up (or perhaps Technicolor Italia, who did the printing, never had the fourth printer installed). Instead, a more elaborate method of printing a B&W dupe image over the color image was used. I don't recall the exact method but I do have the old "American Cinematographer" article on it somewhere in a box.

David Mullen
Cinematographer / L.A.