The commercial and critical triumph of Flowers and Trees gave Disney leverage he turned into market control: Disney secured an exclusive contract with Technicolor for the three-strip process, effective through the end of 1935. That deal was a blunt instrument of the early studio system — it meant that competitors such as Ub Iwerks (Disney’s onetime head animator) and Max Fleischer could not access the superior three-strip color and were compelled to rely on outdated two-color Technicolor or rival two-color processes like Cinecolor. The exclusivity transformed color into a competitive moat for Disney; the Silly Symphonies immediately converted to full three-strip color, Mickey Mouse shorts stayed in black-and-white until 1935’s The Band Concert, and rival cartoon makers found themselves technically hamstrung until the agreement lapsed. The maneuver is a clear example of how business deals and studio contracts, not just artistry, shaped the early animation landscape.
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