Printing SuperCinecolor was not a difficult process, as it was engineered to use the old process' equipment. Using duplitized stock, one side contained a silver emulsion toned red-magenta and, on the other side, cyan-blue. A yellow layer was added on the blue side by imbibition. The soundtrack was subsequently applied on the blue-yellow side in a blue soundtrack but separate from those records. The final prints had vivid dyes that did not fade and were of acceptable grain structure and sharp in focus. The common perception of Cinecolor prints being grainy and not easily focused is perpetuated by 16 mm, regular-process Cinecolor prints in which those elements are an issue.