From 1952, Technicolor began to offer its superior dye-transfer printing for films photographed with other color processes. Productions shot in Eastmancolor, such as This Is Cinerama (1952) or Twentieth Century-Fox’s first CinemaScope film, The Robe (1953), were released with Technicolor prints, featuring the credit line “Color by Technicolor.” Control of color photography was returned to studio hands, although several filmmakers like Alfred Hitchcock, John Huston, and Douglas Sirk continued to collaborate closely to embrace Technicolor’s adaptable palette.
Due to growing global audience demand, the company’s engineering teams successfully addressed new large screen projection formats like VistaVision, Cinemascope, and Todd A-O that were introduced by the industry to address its perceived existential threat posed by the introduction of television.
