Andeutungen eines ehemaligen Mitarbeiters, denen man in Teilen auch widersprechen muß:
>>Steve is 100% right, (...). Movielab was a terrible lab, located on the corner of Highland Avenue & Santa Monica in Hollywood. They were a real low-ball, crap outfit doing terrible work. When I worked on Happy Days and Laverne & Shirley for Paramount, most of the Paramount TV shows were done at CFI, which did very good work. L&S was done at Movielab, because they were about 15% cheaper and those shows were always overbudget. The show looked like crap as a result. I killed myself just to get a barely passable picture out of that show. I was glad when Movielab went out of business in the late 1980s.
Metrocolor actually did very good work, but all labs were at the mercy of Eastman Color prints and negatives with the single-strip tri-pack process. The good news is that the Interpositives (IP) and Original Camera Negatives (OCNs) of most feature films and movies generally hold up well and don't have nearly the magenta-fading problems of normal prints. (...). The issue is that the yellow and cyan layers of old film prints tend to fade first, being on top, and the last layer -- magenta -- is generally what remains over time. This is why old print film tend to turn "red" (magenta) over time.
I think Deluxe (owned by Fox) was one of the worst major labs and did terrible optical work. My take is that Darryl F. Zanuck, head of the studio, started Deluxe just for spite because he felt he could save a few bucks by not using Technicolor. Even when I didn't work for Technicolor, most of the staff colorists I knew referred to that lab as "Color by Luck" because their work was so haphazard and terrible. I think all the film labs got a lot better in the 1990s, which was also when the emulsions got sharper and had less grain. (...)<<
zit. aus:
https://forums.stevehoffman.tv/threads/films-with-the-movielab-or-metrocolor-process.336132/
