Subjectivity in color film restoration: A multi-lab comparison

Cinematographic restoration is a complex practice that brings together technical, historical, and artistic expertise to preserve and enhance works from the past. Among the many challenges it presents, color correction stands out as one of the most intricate and significant, precisely because it is here that the subjectivity of the restorer becomes most evident, inevitably influencing the final outcome. This study investigates the role of subjectivity in the process of digital color correction, a crucial phase in any film restoration project. Specifically, it explores how different interpretations of color, applied to the same film footage, can lead to visually distinct results, and how these variations may affect our understanding of authenticity and visual fidelity in restored films. To this end, an experimental approach was adopted, involving several international laboratories, each with expertise in digital film restoration. Using a common source and reference material, these institutions independently produced their own color restoration of selected film sequences. By comparing these outcomes through a quantitative analysis, this research aims to highlight the interpretive nature of restoration and the implications it carries for cultural heritage preservation.