A bizarre anomaly of colour filmmaking in the British cinema of the fifties & sixties was that the more ambitious the intentions of the makers the cheaper the colour process; which explains why the handful of artistically ambitious productions of the period tended to be made in Eastmancolor while vehicles for TV comedians such as Charlie Drake and Harry H. Corbett so often employed Technicolor & Scope.
This explains the resources lavished upon the likes of 'Petticoat Pirates' - a film so cheap the frog girls don't even wear wetsuits - yet obviously got extensive access to naval facilities; although the film does show occasional flashes of imagination such as the vivid colours that serve as the backdrop for a dream sequence.
