What does 'CA' mean?
That particular frame sure looks bright and oversaturated- but that's how that scene is on the actual print!
The transfer was done on a Shadow Telecine using a Da Vinci 2k for color adjust/ correction. A fairly standard setup for professional Telecine. A basic level was set at the beginning of each reel based directly on the color of the actual film- so it wasn't 'pumped' really....it's a fairly accurate representation of what an IB print of the film looks like. Wherever it ended up on the scope was a result of trying to get as close to what was on the print in a (very) basic setting.
I'm always surprised seeing an LPP or other color stock print with great color, then comparing to a Technicolor print of the same film- the range is quite varied and unnatural, but also quite beautiful in its own right. What it comes down to in transferring a film to video is what you'd like to get out of it- do you want it to look natural, or do you want it to be an accurate representation of what the Technicolor release looked like. That said, films were re-timed over the years as well, so a 1946 Technicolor print of Song of the South will likely also be different than a 1971 (72) print.
I've read some claims that Tech is hard to transfer from a print. My experience in transferring hundreds of hours of film over the years hasn't lead me to think that at all- but instead I've appreciated the odd, subtle/ not subtle, amazing results the process delivers. So- all of that said, the goal in transfer in this case was to try and reproduce the look of this print overall. It wasn't a scene for scene transfer- rather, just a 'one light' with a basic setting at the beginning.
These stills were made by copying and pasting a single frame into photoshop from a pro-res quicktime, then bringing the levels up a bit. Often a pro-res film capture will look darker displayed in Photoshop from the file- so there was some adjustment done there.