What about the color timing seen in the little movie segment on that page and the green-greyish style described in the article? I know, I know, I keep repeating myself...
three things are apparent from this screening.
1) The R2 canyon scene with the Jawas is supposed to be dusk. There was some debate about this since earlier home videos had the scene in bright day, as it was filmed. In 1993, it was re-timed to be dim and sunset-tinted, which was then greatly embellished in the Special Edition. It was reported that the earlier video versions were mis-timed. While the 1993 telecine might seem to exaggerate the sunset hue a bit, the scene in 1977 is definitely as dark as it is in current versions. There is a tiny green shift in the I.B. print, indicating it is actually slightly warmer.
2) There has also been much debate about how the binary sunset scene should look. Earlier home video versions had the scene very bright, and more subdued in its coloring. From 1993 onward, it has gotten significantly darker and more colourful. Based on the photographs here, it appears to have been actually in between the two extremes. It is fairly bright--which makes sense since it is a sunset, lit by direct light, not twilight--and colored a moderate amount of pink/orange. The 1993 transfer darkened it to twilight levels and introduced blue into the timing, providing lots of blue and purple gradients in shots, which the Special Editions have embellished. This 1977 print is basically consistent with the 1977 telecine bootleg, which wasn't reliable because of colour and contrast degradation over the generations of copying.
3) Also, there has been some debate over what colour the Death Star interiors should be. Most fan preservations try to get it grey; Adywan was famously a stickler to get totally neutral colours. The 2006 DVD and 1993/5 Laserdiscs sports this, but the 1985 print used is so washed out and pink-shifted from fading it would have undone any mild colouration that was originally there. This Technicolor transfer is interesting however. While there is always some discolouration or tinting in prints, and the white balance of the camera photographing the screen may shift things further, there is a consistency here in that the Death Star is rarely a neutral grey. It seems to have green in it in most shots to varying degrees, and blue in other shots, with poor consistency. You can tell it is on the print and not from the camera by the consistency and naturalness in skintones, which look far superior than any home video telecine. This is similar to the 70mm cells collection, which also was very green, and occassionally blue. In their book, The Movie Brats, from 1979, the authors refer to the Death Star as a "grey-green" world similar to the Nazis. Coincidence? Not likely. The 1977 telecine bootleg has a similar look. The balance of light, balance on the film stock, and timing of individual shots produced an environment that, even if it were actually painted pure grey (some colour photos from the set look suspiciously grey-green as well, which becomes blue under certain lighting conditions) is tinged. This should be considered a valid element of the film's original cinematography. I confirmed this by taking the 2006 DVD/1993/5LD and pumping up the saturation to the Technicolor levels and then dialing out the pink shift (which means adding green and some yellow) until skin tones looked natural as they do in the Technicolor print--the result was identical color balances. Below are examples of the blue and green tinting on the Technicolor print. You can see that the print and camera is responsible for some of it, but by the natural colour of the skin tones you can tell that it could not possible account for the entirety of the tint.