[In progress] TERMINATOR 2 Blu-ray regrade to 35mm

[BobbyMishima]

Today I watched the "Super 35" projected and thought it looked quite consistent with my memory of the print I saw around 2014-2015. It's rarely pure blue and rather cyan blue with the darker blue parts looking purplish and that's how I remember it. Also, the fire and explosions are rather yellow than orange, so that's good, too. And I figured the color grading really is not the worst thing on the 2017 disaster. They mostly tried to emulate the original look, but as per usual with current remasters, they went with the wrong dosage of green and blue and it turned out teal instead of cyan. I have yet to see the full Rutracker in the same projection conditions, so for now, the "Super 35" clearly is my favorite reference.

Some of the inconsistent scenes I have experienced, possibly due to different reels were from Sarah Connor being restraint from attacking Dr Silberman to the first few seconds of T-000 on foot chasing John Connor while the latter was on his dirt bike inside the parking lot. They were somewhat of a unintentionally Teal-n-green until it shift towards to John Connor exiting the parking lot. However, the rest of the movie before and after those particular scenes I had described looks fine to me.

[immortalverse]

OP any updates on this?

[Beber]

I have restarted from scratch using the "Super 35" scan as reference. The opening grading I made before was largely based on Rob's scan with its shifts in color grading because of his LUTs. Also, I discussed with Gemini the first half of reel 2 with its rather cold green tone, from Sarah's 6 months review to John leaving the parking garage at the Galleria (except the Cyberdyne scene where we meet Dyson in a long shot from the open space to the vault), and Gemini told me it was meant to be that way to express Sarah's state of mind with a certain light coming from the side window, plus the outside shots with Arnie driving around on his bike, locating John and his friend, the T-1000 asking girls in the streets, etc. were shot under a cloudy weather over L.A. Gemini gave me the name of this weather thing that happens during October, I believe, but I forgot. So basically, even if it wasn't intended to look like that on paper, Cameron and Greenberg had to make do with what they had regarding the weather, and they didn't want to change that during color timing because the natural lighting wouldn't fit a warmer tone added in post. That could explain why the 2017 remaster disaster, in its 3 rendering variations (SDR, HDR, 3D) kept a rather green cold look in those scenes as well. So, basically, I'll go along with it and not artificially warm those scenes up to match the other outside daylight scenes. Weather is not a consistent thing, and that applies as well to the truck and bikes chase that was shot during a long period of time with different weather conditions day to day that cannot match shot for shot. As for Sarah's cell, from reel 1, I'll go back to the brownish, beige, cream tone.