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You're right, a non-fade, dye transfer print would make an excellent color reference for future releases of older films - if a lab somewhere in the world was still set up to make them. I'm not even certain that the Chinese are still using the system. Maybe a digital recording is the best thing...

Dye transfer prints are no longer made and even if they were, transfers to digital media are not satisfactory. The copies made from dye transfer materials are very contrasty. The solution is as old as color negative film itself - make black and white separations. These can, in turn, be used to...

Good point!

I know it's being nit-picky, but wouldn't that be a corrupted file? Not a faded image as we know it on film.

Live action footage was all shot in 35mm anamorphic. The effects were shot in 65mm spherical so that when the film elements were composited on an optical printer the resultant image wasn't overly grainy looking.

Maybe Scott was referring the original camera negatives as having begun to fade and not the new digital files. It must have been a helluva job producing such a good looking version of his film from those zillions of feet of old 35mm film.