Many of cinema’s early innovators endeavored to reproduce natural color on film and in print. Before the color-separation process used today became feasible on a large scale, filmmakers relied on additive methods. Teintage (tinting) and virage (toning) involved submerging film prints into baths of dye or chemicals. For more localized and precise chromatic effects, dyes were applied to every frame by hand, often by women who specialized in this delicate art. Beginning around 1903, stencil systems were devised that ultimately mechanized the application of color.