Ah, that makes sense. I meant 'analogue' in the sense that it's not digital, though maybe that isn't quite the right word for actual film. Sounds like the process of setting the colours would allow you a good degree of creative adjustment but ultimately it wouldn't stray too far from the source photography, because it is just shifting the whole image in a certain way rather than the sort of intense manipulation that movies today seem to go for.

I keep wondering how much good it would do to apply colour correction to the 2004 footage vs. the GOUT. For all its flaws, the GOUT is at least sourced from a copy of the actual movie, and so should be closer to the original, but the video noise and fading make it difficult to get something truly accurate from it. On the other hand, the 2004 version is usually much more saturated and has more information to work from, but the crushed blacks are a huge problem beyond any real fixing, and things like colourless laser blasts and dull sabres have to be adjusted individually. Both are frustrating messes in their own ways.