Technicolor 1935 type: 2 or 3 colour analysis on 1 to 3 separate films/ print by toning, dyeing or dye transfer.

These all commence with separate separation records but transfer the image onto a common support by some form of image or physical dye transfer. In 1928 Technicolor abandoned one method - of two dyed positive films glued together, and transferred attention to the dye-transfer system, still as a two-colour system.

In 1932, the Technicolor “tripack” or “trichrome”, commencing at first with animated cartoon shorts, later with a few medium length films and finally a feature, Becky Sharp, by Rouben Mamoulian.

Dye-transfer is the principle of the later Technicolor, from 1935, and is very similar to a wash-off process for paper printing called Dye Transfer. From the three negatives (red, green and blue) three matrices are made, that is, three positives in black and white. The silver image development also tans the gelatine and prevents its wash-off in hot water. The remaining relief image absorbs cyan, magenta and yellow dye, in proportion to the original density. The dye is transferred onto a "blank" film with each image in register.

Sequential exposure animation was a term given to exposures in a normal camera in a sequence through red, green and blue filters to produce a singles strip of negative with sequential separation negatives. Once made a subtractive print could be made by a wide range of techniques - Technicolor, onto duplitized film, Cinecolor, Gasparcolor, or onto a modern tripack colour intermediate. Many animation films were made this way, and the process is only applicable to animation. Some films were issued first in one print system and re-released later in another. [N.B. Disney were always filmed on Technicolor 3-Strip]