When we used to grade films, they were graded to take projection into account, so what was displayed in the cinema would be as close to the director's vision as possible.

So this does mean that when you scan a print, you have to know the properties of the particular film stock *and* speak to the colourists to find out whether they graded for Xenon, Carbon arc etc.

A 'straight out of the scanner' image looks nothing like the director's original intention. Neither does the negative, or the IP viewed with a different light-source than what it was intended to be shown with.

So film archiving is tricky, do you want to see every last jot of detail that was on the neg, or on the IP or do you want to see what the director intended to be on the screen in the cinema. Nearly everyone feels differently/has a different answer to that question, and none of them are incorrect.

As an archivist, I capture the neg or IP or print with the widest gamut possible so that those decisions can always be made later.