I got to say I still prefer the Mondo coloring Andrea. The desert has a blasted out look in the first pic, I am actually seeing what's going on in the night scene and blue sky is blue.

I think defenders of this transfer fail to ask some pertinent questions. The greatest of which is: could that look of been achieved in the 60's? I have never seen a 60's era film look like that, much less a Techniscope one. Even with extensive use of filters and gels that color screams modern computer color correction. Meanwhile the Mondo looks similar to every other color Italian film of that era and every other Techniscope/Technicolor from that era. It looks like other spaghetti westerns from the 60's. I mean why have the Italian and the American transfers looked similar up until now? Did they constantly screw up? Did they never look at an IB Tech print before? This isn't like the late 70's and 80's were the negative and the print could have different color timing.

I have seen the International print on 35mm twice and the American extended cut on 35mm three times. In all of them, blue is actually sky blue. Just like this pic of the 35mm off ebay:

And its not just the yellow that is the problem. It is the over all "cross-processed" green look of the 4K. If they added a little yellow like Andrea's 50/50, I could believe that but the excessive jaundiced yellow and the lime green? The sad fact is that it has been re-graded to look cool and modern. Done to attract new viewers who unknowingly are use to a modern color palette.

A good example, I was watching that crappy movie, Non Stop, last night and the shade of blue/teal was similar to the 4K. It just didn't have the yellow:

Hell I could watch Transformers to get the same effect (even has the yellow):

But I rather watch a good film or a great one like TGTBATU.

I wish instead of an assistant to an assistant they just asked the original cinematographer, Toni Delli Colli. He would be a much better authority.