Originally Posted by D-Nice
What standards does ISF make? You might want to do some research on this topic. Key words to start with would be SMPTE and ITU.
While I may not have used the proper terms, it's clear you understood the intent of my question. It seems you regularly try to obfuscate the argument by pointing out where others know less than you do. I don't think that helps your side of things.
MY POINT - unless a director or cinematographer is shooting to a certain standard that is then replicated on an end user's viewing device, there is no way to ensure any of us see what the "director intended". By default, anything shot on film will NOT appear according to how the "director intended" because the contrast ratio and color space of whatever film was used has to be squeezed into a much inferior color space and dynamic range in order for that content to be viewed on our TVs.
For decades we have watched 425-line resolution LaserDiscs on our "state of the art" 3-tube CRT rear projector units because that got us what the director intended. Well no, it didn't. I doubt the director shot his movie using 425 lines of resolution or an inferior NTSC video standard. So we implement technologies along the way to reduce dynamic range, reduce the resolution or compress the video stream enough to fit on a DVD, Blu-Ray, streaming, etc. How could the director have intended any of this?
Are mosquito compression artifacts what the director intended? What about the reduced dynamic range of video compared to film? Do you think that directors like Cameron who shoot in RED 4k are happy that their content is being bastardized onto DVD? Aren't these far greater concerns for a director than whether cyan shows up 100% accurately on someone's TV? Having gone to film school and studied cinematography, I can tell you that most directors go for an overall "feel" or atmosphere to their films. They don't sit there and obsess about every color in the spectrum looking exactly how they want. The larger defining factors are what type of mood or atmosphere does certain lighting, contrast and color temperature communicate to the viewer.
I don't think there is a single director who will tell you that they are bothered by a slight shift in the color cyan as long as the overall mood of the piece was preserved. I doubt very highly that David Lean would cry over cyan going a little blue in "Lawrence of Arabia" or "Doctor Zhivago", but he would certainly have had a heart attack watching his epic pieces be converted to 4:3 pan-and-scan on VHS.