One major drawback of Technicolor’s 3-strip process was that it required a special, bulky, and very heavy Technicolor camera. Film studios could not purchase Technicolor cameras, only rent them for their productions, complete with camera technicians and a “color supervisor” to ensure sets, costumes and makeup circumvented limitations of the system. Often on many early productions, the supervisor was Natalie Kalmus, ex-wife of Herbert Kalmus and part owner of the company.
The process of splitting the image reduced the amount of light reaching the film stock. Since the film speed of the stocks used were fairly slow, early Technicolor productions required a greater amount of lighting than a black and white production. It is reported that temperatures on the film set of The Wizard of Oz frequently exceeded 100 °F (38 °C), and some of the more heavily costumed characters required a large water intake. Some actors and actresses claimed to have suffered permanent eye damage from the high levels of illumination.
Because of the added lighting and triple amount of film necessary, Technicolor’s productions demanded a high budget film for its usage.
 The introduction of Eastman color and decline
Gentlemen Prefer Blondes, an example of Technicolor filming in 1950s Hollywood.Color film processes that recorded all three primary colors on one strip of film had been developed for 16mm and 8mm amateur film in the 1930s by Agfa in Germany and Eastman Kodak in the United States. Technicolor introduced Monopack, a single-strip color reversal film (a 35 mm version of Kodachrome) in 1941 for use on location where the bulky three-strip camera was impractical, but the higher grain of the image made it unsuitable for studio work.
Eastman Kodak introduced its first 35 mm color negative film in 1950, and then in 1952 an improved version suitable for Hollywood production. This allowed Technicolor prints to be struck from a single camera negative exposed in a standard camera. Foxfire (1955), filmed in 1954 by Universal, starring Jane Russell and Jeff Chandler, was the last American-made feature photographed with a Technicolor three-strip camera.
In 1953, Eastman Kodak introduced a high-quality color print film, allowing studios to produce prints through standard photographic processes as opposed to having to send them to Technicolor for the expensive dye imbibition process. That same year, the Technicolor lab adapted its dye transfer process to derive matrices and imbibition prints directly from Eastmancolor negatives. In the case of post-1953 Technicolor movies, the dye transfer release prints never faded, whereas the color negatives from which they were derived, the cyan record faded in as little as five years.
The same year, Technicolor unveiled their stereoscopic camera for 3-D films. The rig utilized two three-strip cameras, running a total of six strips of film at once (three for the left eye and three for the right). Only two films were shot with this camera set-up: the Nat Holt production of Flight to Tangier with Jack Palance, Joan Fontaine, and Corinne Calvet, and the Hal Wallis production of Money From Home, starring Dean Martin and Jerry Lewis. Previously a similar, but different system had been used by a different company, utilizing two three-strip cameras side-by-side for a short called Royal River.
In 1954, Technicolor made reduction dye transfer prints of the large format VistaVision negative. Their process was also adapted for use with Todd-AO, Ultra Panavision 70 and Technirama formats. All of them were an improvement over the three-strip negatives since the negative print-downs generated sharper and finer grain dye transfer copies.
Technicolor eventually fell out of favor in the United States as being too expensive and too slow in turning out prints. While audience numbers were decreasing, the number of movie screens in the US was increasing. And while dye-transfer printing yielded superior color printing, the number of high speed prints that could be struck in labs all over the country outweighed the fewer, slower number of prints that could only be had in Technicolor’s labs. The last new American film released before Technicolor closed their dye plant was The Godfather, Part II (1974).