Originally Posted by Josh Z
I've asked you in a couple different threads whether you're projecting these vintage 35mm prints through the original lamps they were timed for or modern Xenon lamps that have a different color balance, yet you've ignored the question.
Most of the whites in the new French Connection disc have a teal tinge, including the actors' eyes and teeth, in both interior and exterior scenes. I'm sorry, but you're never going to convince me that the movie has always looked that way or was always supposed to look that way.
There is only one theater that still runs carbon arc projection in my vicinity and it's far enough away that I rarely have the time to drive out there, so most of my recent experience watching films of this vintage is with xenon lamps. The difference, at least from my experience, is not big enough to account for whatever issues you perceive on the disc. They are both approximately daylight balanced light; and you also have the eye's white-balance compensation... the somewhat cooler white of the xenon lamp wouldn't change the overall color design of a film, it wouldn't account for scene-to-scene color differences, etc.
And in this case, the color, the saturation, the contrast, the resolution, all that stuff adds up to one of the most respectable impressions of a film shot on early 70s stock on the format, and to hear some call it "very problematic" just stuns me. There are movies where I think the colors are close to the realm of photochemical timing but I'm still iffy about , such as that Westworld debacle with its carroty flesh, but this is just absolutely bang-on in every meaningful respect. I'm well aware that you probably couldn't convince some people if you fedexed them a film reel, but unfortunately this is the internet and that's how it goes. Bah