Prizma

Prizma gave a demonstration of color motion pictures in 1917 that used an additive four-color process, using a disk of four filters acting on a single strip of panchromatic film in the camera.

To counteract the issue of having a special projector with a filter wheel, Kelley began tinting alternate frames of his film red and green.

However, fringeing, flicker, and light loss were major issues which plagued not only Prizma, but also all of the other additive systems of the Kinemacolor nature.

With the prestige of a Vitagraph production, Prizma was considered the apex of color photography at that point in motion picture producers' minds.

With Harry K. Fairall and Robert F. Elder's 3D feature, The Power of Love, opening 27 September 1922 in Los Angeles and the December 1922 unveiling of Laurens Hammond's Teleview system in New York City, Kelley used his Prizma camera for stereoscopic purposes.

As his camera took side-by-side pictures, Kelley mounted a set of prisms on his rig, thus expanding his point of convergence, and utilized his red/blue color system to make an anaglyphic print of his product.

Based on the success of Movies of the Future, Kelley had his chief photographer, William T. Crispinel, shoot another short film entitled Through the Trees — Washington D.C. in the spring of 1923.

The film was not shot with the Prizma rig — which was being used by Flaherty in Samoa — but with one designed by Frederic E. Ives, a technician specializing in 3D photography.

Samuel Goldwyn produced Vanity Fair (1923) in Prizma, and D. W. Griffith utilized the process in a couple of his films, including a scene in Way Down East (1920).