ours they saw and experienced.
In the end, the story behind the run on green paint in Adelaide during the Kangaroo shoot was not quite as I first heard it. According to the Art Department, “the peaks of the Flinders Ranges in the distance, glowing a hazy purple, with reddish gold tinges under the sun, make the ideal backdrop”. But the foreground country, along the banks of the Cataninga Creek, where the homestead set was located, “was not lush, scenic and splendid. It was flat, sandy saltbush, with some scrubby gums along the foothills”. The Technicolor camera needed more to work with and so the scenic artists directed their spray-painting efforts to the grey-green foliage of Australia’s gum trees.  The muted greens of Australia’s eucalypts were found wanting. Spray-painted a brighter green considered a better match for Technicolor.
Thanks to Simon Drake from the NFSA for his assistance, film historian Graham Shirley whose early research on Solarchrome and Mal-comm Colour provided one starting point for my own investigation. I would also like to thank Dominic Case and Ric Chauvel who discussed some aspects of this article with me and the organisers of the 2nd Colour and Film Conference, London who invited me to present an earlier version of this research as a keynote in 2017 which provided valuable feedback from conference participants. This research began as a result of an Artists and Scholar’s Fellowship awarded by the NFSA.
 Mel Gussow, Daryl F. Zanuck: Don’t Say Yes Until I Finish Talking (London: W.H. Allen, 1971) 80
 Kangaroo, directed by Lewis Milestone (1952; Los Angeles: Umbrella Entertainment, 2014) DVD.
 The Queen in Australia, directed by Frank Bagnall (1954, Australia: NFSA, 2013) DVD
 Jedda, directed by Charles Chauvel (1955, Australia: Umbrella Entertainment, 2015) DVD
 Tom Gunning, “Applying Colour” in Fantasia of Colour in Early Cinema ed. Tom Gunning, Joshua Yumibe, Giovanna Fossati, Jonathan Rosen (Amsterdam University Press, 2017) p. 15
 Gunning, Fantasia of Colour in Early Cinema, p. 16
 See Kinemacolor entry Barbara Flueckiger Timeline of Historical Film Colours
http://zauberklang.ch/filmcolors/timeline-entry/1214/ accessed 18th July 2018
 “A New Art”, Sunday Times, Sydney, 15th December 1912, p. 15
 Sun, Sydney, 16th February 1913, p. 2
 George Johnson, Photography in Colours, London: Routledge, 1911, p. 114
 Technicolor advertisement, 1930, George Eastman Museum website,
accessed 18th July 2018
 Motion Picture World, October 6th, 1917 quoted in Fred Basten,Glorious Technicolor: The Movies’ Magic Rainbow (New Jersey: Barnes, 1980) p. 27
 Stuart Cunningham, Featuring Australia: The Cinema of Charles Chauvel (Sydney: Allen and Unwin, 1991) p. 64-5
 Everyones, Sydney, 15th September 1937. Reference from Graham Shirley “Colour Cinematography – Unpublished Notes”, 2002.
 See New Century Films Colour Animation Film Fragment National Film and Sound Archive, Australia Catalogue. https://www.nfsa.gov.au Accessed 18th July 2018.
 Hugh McInnes, Sheila Higgins Oral History Interview, Canberra, National Film and Sound Archive, Australia, 1977.
 Sydney Morning Herald, 25th March 1939, p. 8
 “One-Reel Novelty Films Made Here”, Courier-Mail, Brisbane, 28th November 1938, p. 5
 A Playground of the Pacific, directed by Stan Pentreath (1937, Australia: Cameracraft). An excerpt can be viewed at the National Film and Sound Archive, Australia youtube channel.
accessed 18th July 2018
 “All-Australian Colour Shorts”, Table Talk, Melbourne, 6th April 1939, p. 14
 Mercury , (Hobart), 28 January 1939, p. 5
 “Willie the Wombat”, Smiths Weekly, Sydney, 20th May 1939, p. 23
 Sydney on Show, (c 1940, Australia: Solarchrome Colour Processing). An excerpt can be viewed at Australian Screen.
accessed 18th July 2018
 Motion Picture Herald, March 23rd, 1946, p. 23
 “Monopoly Action Hits Film Firms”, LA Times, 14th August 1947
 “Fast Colour”, Time, March 22nd, 1948
 The News, Adelaide, 12th January 1948, p. 2
 “Newsreel News”, Smith’s Weekly, Sydney, 24th January 1948, p. 17
 The Joy of Living, directed by Eric Porter (1948, Australia