Williarob said:
A single correction was made for each reel. In most cases it involved nothing more than white balancing the image using the optical track for the white point and then adjusting the contrast so that the brightest point on the reel is right at the top of the scopes and the blackest right at the bottom. With a single adjustment like that, you can’t make space or the end credits completely black or you will crush the blacks in other parts of the reel.

Colors and levels could be greatly improved with a shot by shot grade, but I wanted to preserve the original colors and levels as much as possible for this version. So the colors quite accurately represent the digital scan of the print, which isn’t necessarily the same as when projected in a dark room with a 70s bulb, but nor is it anybody’s idealized imagination of what it should look like.

So if I understand what you say, wouldn’t this mean that if you screen 4K77 in a dark room with a 70s bulb you would have similar colors to what you see in the online screenshots of Technicolor screenings (assuming correct color balance)? Or does this mean that, even with 70s bulbs, people in 1977 did not see completely black space and end credits when they were screened a Technicolor print?