Yeah, I know. I've had to deal with several directors and studio execs who clearly had eyesight problems. Good or bad, though, our job is to make them happy. Sometimes, that's more important than giving them something that looks good. It's not our project, after all -- it's their film.
F if I know. This was back when I worked for Kodak a few years ago. I'm assuming our staff color scientists here in LA knew what they were doing. Note that Kodak invented the 3D LUT, about ten years after they invented the Cineon format. The tests were on Vision Premiere, which typically have better blacks and more saturation than the standard Vision print stocks, as you know. We projected "butterfly" tests comparing digital with print in a calibrated theater. We figured out the limits of how far we could push the IN in the film recorder, and learned by trial and error how far we could go. (Interestingly, the Kodak guys were horrified that we were pushing it this far, but admitted that film was never designed to be abused this far -- kind of like the differences between a linear video clip and a logarithmic film overexposure. They have a radically different look.)
