This is an aside to the Warner Legends thread, and to the release of the three films in question to DVD, and a very technical aside, but I'd like to iron something out. As this isn't about the discs themselves I thought it better to separate it into its own thread, where perhaps further discussion of Lowry's Ultra-Resolution process might be possible. Reading over the announcement of these films at The Digital Bits (http://www.thedigitalbits.com/#mytwocents) reminded me of a question I posed off-handedly in the Studio Feedback forum: at what point, in creating the best possible digital master for a 3- (or 2-) strip Technicolor motion picture, is the color introduced, and how is it then timed? "Ultra-Resolution," I believe, refers to a Lowry digital process of combining the three strips of early Technicolor. Three negatives (in 3-strip) are exposed to light through primary color filters (red, blue, and green). These create B&W (not color) film negatives, each with varying densities as created by the filters. When printed with colored dies (cyan, yellow, and magenta, the "compliments" to the primary colors through which the film negatives were exposed) and combined, this creates the final dye transfer print we might enjoy in a movie theatre. All well and good, and more can be found at The Widescreen Museum. But if Ultra-Resolution digitally scans the black-and-white negatives and combines them within the digital field, how and where is the positive color applied? Is it created digitally (positive color dyes for cyan, yellow, and magenta should certainly be within the "creative" capacity of computer technology), and if so, is the positive element used for the transfer also created digitally? In the printed form of dye transfer, I presume the dyes are imbibed (thus the term imbibition, or IB) to positive print elements, and these positive prints must then be combined and issued to theatres; transferring to multiple emulsion single film negative stock would presumably deprive the film of the dye transfer richness that marks the process, and such stock didn't exist when the 3-strip process was created, anyway, and thus combining the strips -- registering them -- in negative form would seem unnecessary, as they'd still have to be printed to positive for exhibition, and positive elements would be three combined strips in their own right (with dyes now applied). So my questions are these: 1. In printed form, 3-strip is combined positively, with colored dyes applied positively, correct? 2. In Lowry's digital process, used on the upcoming DVDs, how does this change? If they are scanning the strips as B&W negatives and combining them digitally, they must be adding the color digitally, correct, and creating their positive element digitally? 3. Further, wasn't Technicolor itself alone allowed (by copyright or trademark law) to issue dye transfer prints? Wouldn't any studio wishing to create a new dye transfer print for exhibition be up a creek as a result? I think this is why Technicolor's labs had to re-open to make the dye transfer prints of Apocalypse Now Redux a reality, but those labs are closed again, yes? Could Technicolor license this technology to a studio lab if they so desired? 4. If #3's answer is "yes," exactly where does the digital creation of a "computer dye" transfer print fit into all of this? And if Lowry's restoration work can only represent itself on DVD (unlike their B&W work on Sunset Blvd., etc.) or other forms of home video, then any film-restored B&W separation elements they generated could never be used for the creation of actual, theatrical dye transfer prints (unless Technicolor opened their labs again, or authorized the creation of such prints). I should clarify that 2-strip, in its final Technicolor subtractive form (again see The Widescreen Museum), exposed two sides of a double-emulsion negative. Unlike 3-strip, there is therefore only one negative in this form of 2-strip, a negative with two sides. It could then be printed as a positive with two dye-transfered sides and exhibited as such. No "registering" of different strips would be required. But digitally, you'd have to scan two separate B&W images and register them nevertheless, would you not, as scanning the image as a single "double negative" would prevent one from properly applying the two dyes (cyan and magenta) in positive form. Thus, I presume Lowry's system could be used, much as it is now for 3-strip, with 2-strip, but if that's not so, I'd love to know. I realize this is all very technical, but I'd like to get to the bottom of just what we're seeing on these DVDs (Singin' in the Rain, in its two-disc SE form, also utilized Ultra-Resolution), and just how this product relates to a physical dye transfer positive. Thanks to anyone with the experience in this field to comment, and if I'm overlooking any other questions in these matters others might like to ask, by all means chime in.