SuperCinecolor used black-and-white separations produced from monopack color negatives made with Ansco/Agfa, DuPont, Kodachrome, or Eastmancolor film, for principal photography. After the negative was edited, it was copied through color filters into three black-and-white negatives. An oddity of the system was that rather than using cyan, magenta, and yellow primary subtractive colors, SuperCinecolor printed its films with red, blue and yellow matrices to create a system that was compatible with the previous printers. The result of the combination of the color spectra was an oddly-striking look to the final print.