Luca Comerio

DCP. Kinemacolor.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

It is known that the first Italian cinema to screen Kinemacolor was the Cinema Centrale in Genoa, which was owned by Stefano Pittaluga. We also know that there were screenings in Milan at the Teatro dei Filodrammatici, where the Milanese could admire the first colour films as early as the beginning of 1912. […] From articles that appeared in “The Times” and “The Bioscope” it also emerges that the system even reached the Vatican in the form of a private screening for the Pope in June 1913. […] Recently it has also been discovered that Luca Comerio shot some documentaries in Kinemacolor. He was present in Libya during the years of the war; we don’t know whether he had already had the opportunity to admire the colour system, but much of the material on the war in Tripolitania screened at the Centrale in Genoa was almost certainly his. […] We can surmise that Comerio came into contact with one of Urban’s cameramen in Genoa. Aside from this, little is known; there is no documentation as to how Comerio came into possession of a Kinemacolor camera and we cannot exclude the possibility that he violated the patent. The fact remains that these films do not bear the logo of Urban and Kinemacolor; instead their title cards carry the celebrated mark of Comerio while making no mention of the colour system employed.

Livio Gervasio, Il cinema a colori naturali. Il Kinemacolor in Italia in Michele Canosa, Giulia Carluccio, Federica Villa, Cinema muto italiano: tecnica e tecnologia. Brevetti, macchine, mestieri, Carocci, Rome 2006

Copy From

Restored in 4K by L’Immagine Ritrovata laboratory from a vintage Kinemacolor black and white nitrate positive. Following the scan, the even and odd frames were separated. A green/cyan filter and a red/orange filter were associated to the frames with corresponding densities. The digital correction was limited to image stabilization and manual clean-up. No flickering reduction was applied to unalter the nature of the system. The recombined images are projected at 16fps