@ captainsolo

Another great link chock full of vital info! There's just no end of the quest to get a good representation of the movie. :O

@ PDB

Maybe pink in the master, but wouldn't that (among other things) be what the restoration team was fixing?

This is what made me wonder ..

Here, the brightness & contrast are identically raised -- on the left by luminance, on the right by synchronized R-G-B. One would expect the results to be identical, but they're not. That's because gamma-weighting of the individual R-G-B components is built into luminance adjustment. This is supposedly to compensate for real-world devices and how they reproduce color for our perception. The direct R-G-B adjustment has no weighting (obviously).

Isn't anything simple? It always gets curiouser and curiouser.

Anyway, establishing a good color correlation from the Criterion's color bars (althor1138's capture?) would determine if there's anything to this. That's assuming the CAV and CLV images were identical going on, and coming off, their respective laserdiscs.

@ Asaki

All the on-the-set pictures I've seen only show standard incandescent lighting fixtures (whether behind panels or on stands). Also, filming fluorescent lighting produces beat, like filming off a TV screen. FX supervisor Trumbull only later, while working on his Silent Running sci-fi movie, developed combined, counter-phased lighting to work around the fluorescent problem. So I wouldn't think that's the problem.

Further, Kubrick had already established a system of Polaroid instant color photos, cross-referenced to film by director of photography Unsworth, to get exactly the color & lighting he wanted, on film, the first time. I hope he wasn't on a pink-kick. :)