The film colour separation process is deconstructed in highly impressionistic fashion. High-contrast film stock was run three times through a stationary camera by the artist Chris Welsby, once for each of the light primaries: red, blue and yellow. In the composite image, anything moving is represented in primary or secondary colour whilst anything still is rendered ‘correctly’.
The British Film Institute presents the best global cinema on-demand:
From classic and contemporary films to the best of the BFI National Archive.