People will be harvesting the Kodak patents for a thousand years. I have always thought the Kodachrome structure was a robust design, saving a lot of work which would be required for built-in couplers and the manufacture of chemicals which would be stable in the field. Its principal innovation was to solve the registration problem which was an issue with Technicolor DT. Kodachrome will still be with us in one way or another. Now that PE has revealed the red light sensitizing dye, Kodachrome is yet another step closer to becoming an amateur-built process.

I share the admiration for what was traditionally called the Technicolor 3-strip process. The camera was essentially a "one-shot" design and the separation negs which it produced tended to have higher contrast high-light to low-light than the separations produced in chromogenic films. Technicolor DT prints therefore often had a fully saturated portion of the frame. This can be very satisfying to color lovers as well as producing a very deep gamma black--darker than most chromogenic blacks. Also the process allowed considerable latitude to produce the final "look" of the film. Technicians could work in daylight balancing contrast and gamma. More importantly they could use a wide variety of dyes and dye mixtures to produce the hues, all of which could be found on the commercial market. Chromogenic films could only use dyes which were produced by coupling-development. This limited the dyes available so that hues and saturation could suffer. But Technicolor could mix up a separate soup of dyes for each new film it produced. In addition, two or more dyes could form the complementary colors. The process made the human face look beautiful and allowed for very pure tones in the low-lights. This made for rich sunsets and clear views of dark interiors. I doubt if "The Godfather" would have looked as good if it had not been printed in Technicolor DT.

Finally there is the stability of the dyes--for years the best in the industry. About six months ago I saw a Technicolor DT print of a short of the World's Fair in Flushing Meadows which was printed up in 1964. The film looked like it had been produced yesterday. DT prints are some of the most satisfying images in analogue photography.