And when you couple that with Mr. Yarbrough's comments on the work he and his team at MPI did to "take advantage of the larger color palette, and higher dynamic range of HDR and the extra pixels of 4K TVs" on the current doc, it seems to me very clear who and where the decision was made to alter the color timing. When you watch the new documentary, you have the archivist at Zoetrope (James Mockoski) and the two women in Paramount who were in charge of the project (Andrea Kalas and Laura Thornburg) talk glowingly of the 2007 effort and how that was to be the reference point for the new project. They even mentioned it was the last thing Willis blessed, and Thornburg kept reciting the "four point yellow, one point red" to Jan and his team at MPI (she says this nearly verbatim in the 50th anniversary documentary). So with the Zoetrope Archivist and Paramount Project managers on record (via the video doc) as wanting to honor and maintain the look of the 2007 effort, but just with the added benefit of 4K transfer and a better compression codec...it's clear that it was when the data was handed over to MPI and Jan starts talking about all the changes he and his team made where the divergence from the original stated intention occurred.
![]()