{"id":"technicolor","no":177,"name":"Technicolor","ja":"テクニカラー","era":"1922–1950s","family":"映画技術","kind":"技法","collection":"Dictionary expansion 10","addedAt":"2026-08-18","source":{"title":"George Eastman Museum — Technicolor","url":"https://www.eastman.org/technicolor"},"reference":{"status":"verified","pageUrl":"https://www.eastman.org/technicolor","credit":"George Eastman Museum — Technicolor","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Lobby%20card%20Toll%20of%20the%20Sea%20(1922).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Lobby%20card%20Toll%20of%20the%20Sea%20(1922).jpg","credit":"『The Toll of the Sea』ロビーカード 1922 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/3-strip%20Technicolor%20camera.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:3-strip%20Technicolor%20camera.jpg","credit":"3ストリップ・テクニカラーカメラ（CC BY 2.0）"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Errol%20Flynn%20in%20The%20Adventures%20of%20Robin%20Hood%20trailer.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Errol%20Flynn%20in%20The%20Adventures%20of%20Robin%20Hood%20trailer.jpg","credit":"映画『ロビンフッドの冒険』予告篇より エロール・フリン 1938 — Wikimedia Commons / Public domain"}]},"essence":"分解ネガと染料転写で映画に飽和した色を持ち込んだ発色方式で、「現実より鮮やかな色」を映画の記憶として定着させた。","cues":["飽和した三原色","染料転写の深み","色彩監修","夢と現実の色分け"],"intents":["高揚","懐かしさ","技術"],"works":["現実より鮮やかな色で、非日常や夢の場面を一目で分けたいとき","祝祭やミュージカルの映像に、飽和した三原色の高揚を持たせる仕事"],"recipe":{"type":"タイトルは色面に乗せ、書体より色の濃さで前後を分ける","layout":"衣装と美術で先に色を配り、画面内の三原色の面積比を決める","material":"赤と青緑の深さを残したまま、肌だけ彩度を落として破綻を防ぐ"},"avoid":"彩度を上げるだけでテクニカラーになると思うと、肌が濁って全体が均一に派手なだけの画面になる。","colors":["#e6dcc1","#973a2c","#2c3b37"],"motif":"archive","pair":["film-noir","psychedelic"],"study":["ナタリー・カルマス（色彩監修）","『オズの魔法使』の色の切替","染料転写プリントの保存性"],"en":{"essence":"Brought saturated color to cinema by separation negatives and dye transfer, fixing 'color more vivid than reality' in film memory.","cues":["Saturated primaries","Dye-transfer depth","Color supervision","Color-coding dream and reality"],"works":["Separating dream or spectacle from the ordinary by color alone","Musical and festival footage that needs the lift of saturated primaries"],"recipe":{"type":"Set titles on flat color, separate planes by density not face","layout":"Distribute color through costume and set, fix the area ratio first","material":"Keep reds and cyans deep, pull saturation only out of skin"},"avoid":"Raising saturation across the board is not Technicolor, skin goes muddy, and every part of the frame ends up loud in the same way.","study":["Natalie Kalmus, color supervisor","the color switch of The Wizard of Oz","the permanence of dye-transfer prints"]},"links":{"page":"https://indexstyle.org/styles/technicolor","json":"https://indexstyle.org/api/styles/technicolor","designSpec":"https://indexstyle.org/styles/technicolor/design.md","imagePrompt":"https://indexstyle.org/styles/technicolor/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}