But down to business.

These three shots show very clearly the variation in the Technicolor print. Not only are the blacks crushed (and I’ve compared several really good scans of a number of scene and found the same crushed black on all of them) and the brights consistent across these three neighboring shots, but the contrast varies. In the wide shot of the cargo hold, all the shots look pretty similar, but when it cuts to Ben, the shot is dark.

And this variation in image continues through out the film. The two pan and scan LD captures show very pale images. The Moth3r and Puggo widescreens tend to be dark. The Technicolor goes from matching one to the other. And thanks to that interview, we know the 1982 LD was telecined from a release print. The 1985 telecine was from an interpositive. The GOUT is from an interpositive. The SSE is from release prints (varying sources color corrected to match using the GOUT as a reference). If the Technicolor print is definitive, these others should not vary so much. But in some shots the darks are green and crushed and in others the contrast is low. Some shots are highly yellow. This shot has some good examples of the crushed blacks. Compare to the 1982 LD release print.

This shot leans blue in the Technicolor print. The details of the blanket next to Threepio and the wall behind Luke and Ben are muddled or gone.

This shot leans yellow.

This shot looks great.