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Film Daily credits Ray Rennahan with Technicolor photography. Modern sources add the following information: Black and white prints were shipped to small towns and to foreign markets, while color prints were reserved for major cities. The film was one of the last made using the two-strip Technicolor process and it was the first horror film to be shot in color. The color version of the film was thought to be lost untilthe 1970s. Warner Bros. decided to make the film to complete their contract with Technicolor, since the two-strip process had not proved popular with the public. The studio bought the rights to the play for $5000. According to some modern sources, Michael Curtiz shot the film late at night after other units had left the studio and told ghost stories to the cast in order to create the proper atmosphere. Others maintain that Curtiz shot fifteen hours a day in order to impress studio head Jack Warner with his efficiency, but that he did not shoot exclusively at night. The love scenes between Fay Wray and Lee Tracy were shot at Laguna Beach. Technical advisor Dr. C. E. Warriner worked at the Glendale Bureau of Biological Research. This was Wray's first horror film, closely followed by the Warner Bros. film The Mystery of the Wax Museum which was also shot in two-strip Technicolor (see below). Modern sources list the following additional credits: Spec photo eff Fred Jackman; Assistant Director Al Alborn, Marshall Hageman; Makeup Perc Westmore, Ray Romero; Hair Ruth Pursley; Props Limey Plews; Grip Owen Crompton; Sound Recording Bob Lee, Stills Charles Scott Welborn; Contr to scr const George Rosener; Executive Producer Darryl Zanuck, Hal Wallis; Technicolor 2nd cam W. Howard Greene; Technicolor asst cam Thad Brooks, Floyd Lee; Second cam Carl Guthrie; Camera Ellsworth Fredericks, Ernest Haller, William N. Williams, W. Robinson.