Thank you Williarob and oohteedee,

Just amazing help from you both. I think that’s probably as far as I can go in terms of accessing the best scans unless a decent 70mm print becomes available.

I feel for Harrison and correct me if I’m wrong but isn’t the SE showing a new matte that isn’t his work?

In terms of colour balance, the only way I can see a clear way of getting a correct colour timing on ongoing upgrades is to work alongside someone who understands how the film stock degrades chemically and retrace its decomposition (I’m aware there were many film stocks used for different shots before the transfer to a final editing that various stocks were used for distribution) back to its original state. I’m sure the bods at Kodak, etc have drilled down far enough to understand film stocks original state. In the same zone of conversation I just saw Apollo 11 on Imax - boy those 70mm shots are absolutely astounding. Please go see.

I may post up my other reference photos when building up my painting and expand further.

Any more thoughts and again, thank you gentlemen.

Paul:)