It’s the balance between fidelity and the viewer’s experience. First, I sit with the original prints, the negatives, and the soundtracks—if the colors shift outside the palette you see on the frame, that’s a red flag. Then I run a side‑by‑side comparison under the same light, maybe even a color chart on a monitor calibrated to the film stock. If the hues stay within the master’s gamut and the contrast curve matches the original exposure, I consider it true. I also keep a log in my spreadsheet: year, source, transfer quality, aspect ratio, and a column for “color fidelity score.” That way I can’t argue with the numbers. But at the end of the day, it’s about preserving the director’s intent while giving the audience a fresh, clean vision—nothing less.

You’ve got it—my spreadsheet is my bible. I never let a single score slip without digging into the transfer chain first. Consistency is the only way to honor the original while still giving audiences that crisp, faithful experience.

Absolutely, the spreadsheet is my compass. It keeps the numbers front and center, so I never let a hunch override the data. That’s the only way to stay true to the film without getting lost in nostalgia.

Exactly—if the numbers flag a deviation, I’ll pull the transfer into the lab and re‑examine the source. No excuses once the data says we’re off track. That’s how we keep the restoration honest and pristine.