Ok, excellent.
So basically it gets us back to the colours on set, but not necessarily the colours captured on film, or to the original grade.
It does give a great neutral starting point to work from, I am keen to try it out.
Well, since you would correct large parts of the reel as a whole, the shot to shot color relationships would remain intact, so unless the original grade had some color bias (even for shots that were originally shot under white light), you should recover the original grade to a good approximation, before it was captured on film, which would then introduce the bias of the film stock.
Yes, very much the description of the colors I want to see. I’m not interested in film bias or bulb tint, I want what was captured on film. The image itself. I think we are close to being able to achieve this. Especially if Poita’s scans are any indication.
Well the image is influenced by the biases of a film stock. Kodak’s Vision stocks, for example, are much more saturated and colorful than the older Eastman stocks. Fuji stocks have a green-ish haze to them. So the image “itself” that was “captured on film” is very much influenced by the filmstock used. Film isn’t neutral.
This is true, but the film stock bias is easy to add, if you know the bias, assuming they didn’t correct for it while grading the film. So, this remains an uncertainty. Barring that, the color grading essentialy is represented by the color relationships between the various shots, which is maintained with this method.