That does make sense, of course. I can only go by what I see, which is that the purple looks strange and out of place; and by the fact that the GOUT is a highly flawed transfer, which I do not trust even when its inconsistencies are evened out. It can be easily inferred that the source from which it was made did not contain an accurate record of the original colour timing—one only need look at the arrival on Bespin scene to know that, since the various film prints show this scene being very orange, while the GOUT has absolutely no trace of this orange tint. It may well have come from an earlier generation source than what ended up on the film prints, and so is lacking certain post-production choices that were made later. There is also the possibility that the colours may have been deliberately altered in 1993: this was the case for the sunset scene in the first movie, after all.

Now, without a reliable a colour reference as you had for the first movie, it is of course very difficult to say for sure what the 'real' colours ought to be. But since the GOUT is problematic, and other sources sometimes disagree with it, I do think some leeway of interpretation is called for, in the places where following it too closely yields a strange-looking result. Purple Hoth just looks weird. But it's only a small change I'm suggesting for this . . .

I also recognize that all this has to be done within the context of the 2004 transfer, which is itself highly flawed and may not be fully receptive to manipulation without contorting into a strange appearance itself. I'm pretty amazed that it came out looking as good as it did, actually.

Anyway, most of this is subtle stuff—by and large it's looking fantastic. ;)