(1925), with color by Pathé's stencil process Pathéchrome. By the early teens, with the onset of feature-length films, tinting was expanded upon as another mood setter, just as commonplace as music. The Society of Motion Picture Engineers estimated that by 1920, tinting was used for 80 to 90 percent of all films. The director D.W. Griffith displayed a constant interest and concern about color, and used tinting to a unique effect in many of his films. His 1915 epic, The Birth of a Nation, utilized a number of colors, including amber, blue, lavender, and a striking red tint for scenes such as the "burning of Atlanta" and the ride of the Ku Klux Klan at the climax of the picture. Griffith later invented a color system in which colored lights flashed on areas of the screen to achieve a color effect. In 1921, Kodak introduced pre-tinted stocks, with stained cellulose base, rather than a dyed emulsion upon the base. The colors available originally were lavender, red, green, blue, pink, light amber, dark amber, yellow, and orange. By the mid to late 1920s, tinting and toning were phased out for a number of reasons, the largest being that it was expensive and time-consuming. Since each color had to be dyed separately, then spliced into the show print, it also meant that each print was already weakened by having numerous splices in it, straight from the distributor. The introduction of panchromatic film stock, which registered all light rather than just blue light, also lessened the need for tinting. This meant that it was possible to shoot dark scenes and not have to tint them to relate to the audience that it was night. Eventually the rise of color film would make manual tinting obsolete. Another minor, but prevalent, factor was the coming of sound. Manually tinting a film ran the risk of interfering with the soundtrack on a sound-on-film system, making it unusable. In 1929, Kodak added to their tinted stocks a brand known as Sonochrome — pre-tinted stocks for sound films that did not interfere with the soundtrack. But splicing together tinted sound prints interfered more with sound-on-disc processes such as Vitaphone, which needed to be frame accurate to keep in synchronization. Extra splices in a print were prone to human error and out of sync pictures. Tinting in later years Tinting was utilized for years up until the early 1950s