You mention the 16mm has great color. Do you suppose you will utilize one of Dre’s color matching algorithms to match the 35mm print to the 16mm color?
Also, you’ve got a donation from me 😃
That could certainly be done, yes… but do you really prefer the 16mm colors as a reference?
Unless somebody comes up with a way to automate, or batch the color matching process, this would be a nightmare.
To be fair, we’ve only seen previews of the 16mm print - I don’t know if they were color corrected at all, but if not it’s certainly possible that a single correction could make it all look fantastic - it all looks very blue in the previews, but if we dial that back it might look great. I don’t know, but I hope that’s the case. If not, the Fuji print looks very nice on it’s own.
I was just trying to guage interest in those super blue versions of ESB. Yes… the color potential in the Fuji print is almost unreal. Here’s a denoised shot I made of a frame over a year ago (4K80 initially won’t be denoised, it will be full movie grain but this is just an idea)
I did some color work early on in 4K77 but since I never saw that movie in theaters my confidence levels were very low. I’m much more confident in ESB colors… this print yields incredible reel by reel colors. I’m even thinking we could do a white snow and a blue snow version near the end, but that’s really jumping the gun, gotta get it cleaned up first.