I’m going to try one last time. Telecines, and raw scans are not reliable color references. They capture what’s on an interpositive or print, but the colors are going to be specific to the apparatus and settings used for the scanning, and in case of a telecine to the person doing the telecine. They do not represent what´s on a print, unless the scan or telecine is corrected to roughly match a projected print. So, the telecine´s generally do not represent what was put on the o-neg, or what was seen in theatres. It may look pleasing to the eye, but that’s another matter.
Unfortunately the fact of the matter is…
If you hue shift the Gout in the correct colorspace what you get is not “revised color timing” But “fixed color timing” and it is practically equal and identical to the Special edition pre 2004 i.e. 1997 Special edition released to theaters.
How do you know this? Did you compare it to a projected 1997 SE print?
This is the point. George Lucus sat there and ordered the hue shifting fixed for this release , but now we are back to square one again post 2004.
So sorry for liking older versions. After seeing 1997 broadcast version of the special edition. It very much makes sense. But come 2004 until present that is like a mish-mash version.
It is theatrical print coupled with the special edition.
The Special edition though was not based on the theatrical film print but a telecine or the Gout version master. Or atleast the broadcast 97 version looks like a good version of gout master.
The 1997 SE broadcast version of the special edition for ANH is one of the worst telecines of any made for the OT. The color balance shifts constantly even within a shot, and large parts of the early parts of the film have a marked blue cast to them.
ok I only really was comparing the detail in the special effects shots initially and this is good although it is pan & scan.
But yeah I noticed how different it was and I thought this looked like a modified Gout master paired with the special edition effects. I honestly did not spend much time looking at it. But I think there is something right and something match up between the special edition effects and this broadcast version. It may be bad in your eyes but it may just have some problems.
It does seem that the general consensus is TV broadcast = bad looking not desireable and always wrong.
Nobody said the TV broadcasts are always bad looking, just that unless you define your objectives when color grading a shot or scene, blanket statements that involve the terms “wrong” or “right” have zero meaning, and represent your own subjective tastes. You make these claims like “the magenta shouldn’t be there”, or “there’s a hue shift” without providing any proof, or reference to back up these claims. When knowledgeable people like poita provide you with references, and advice, you ignore them or dismiss them outright, because you would rather trust your own infallible memory of a movie you saw over four decades ago. Rather than acknowledge that your process is flawed (as almost any process is), and your results highly variable, and debatable, you keep insisting that whatever you’re doing produces the “right” colors.