I’m going to try one last time. Telecines, and raw scans are not reliable color references. They capture what’s on an interpositive or print, but the colors are going to be specific to the apparatus and settings used for the scanning, and in case of a telecine to the person doing the telecine. They do not represent what´s on a print, unless the scan or telecine is corrected to roughly match a projected print. So, the telecines generally do not represent what was put on the o-neg, or what was seen in theatres. It may look pleasing to the eye, but that’s another matter.
Unfortunately the fact of the matter is…
If you hue shift the Gout in the correct colorspace what you get is not “revised color timing” But “fixed color timing” and it is practically equal and identical to the Special edition pre 2004 i.e. 1997 Special edition released to theaters.
How do you know this? Did you compare it to a projected 1997 SE print? If not, all your hue shift represents is an interpretation, that looks pleasing to you, and perhaps a number of other people. Saying “the colors are fixed” means very little unless you define what that means. Does it mean the colors closely match what was seen in theatres? If so, how did you establish this? Does this mean the colors closely match reliable photographs of props, sets, and locations, such that the look of your “fix” roughly represents what was captured on camera in 1977?
This is the point. George Lucus sat there and ordered the hue shifting fixed for this release , but now we are back to square one again post 2004.
So sorry for liking older versions. After seeing 1997 broadcast version of the special edition. It very much makes sense. But come 2004 until present that is like a mish-mash version.
It is theatrical print coupled with the special edition.
The Special edition though was not based on the theatrical film print but a telecine or the Gout version master. Or atleast the broadcast 97 version looks like a good version of gout master.
The 1997 SE broadcast version of the special edition for ANH is one of the worst telecines of any made for the OT. The color balance shifts constantly even within a shot, and large parts of the early parts of the film have a marked blue cast to them.