Because the references I sent to you are essentially raw scans, sRGB colorspace. These images are graded in DCI-P3, and balanced for neutral whites and blacks. When scanning, you want to maximize the information per channel so there is the most data to work from, and sometimes this means that the raw scan ends up with more color in a channel than the "actual" image looks like. Green carries a lot of data, so it's usually extra prominent in scans (digital sensors too, for that matter) so that has to be balanced out. Just because it's Technicolor doesn't mean it's 1-click, done. It means that all the original color is still in there, and if you're just screening it on a projector, sure it looks normal, but when scanning, you want a nice saturated data set. Getting back to the neutral tone of the source is fairly straightforward. My first pass on Legacy sets neutrals and internal balances, and this next pass does things like scene-by-scene overal tone grading, as would be done to the original film - things which yield the warm orange tone of the Tatooine canyon stuff, when in fact the footage as shot didn't actually look that way. I grade to the "as shot" look, unify everything, and then grade all of THAT back to the Tech or whatever.

I'll do a grading video so you can see the process! :)

_Mike