That's weird. If the color difference is caused entirely by some peculiar chemical properties of the film, it should be trivial to calculate the filter that you need to apply to the digital source material so you get the "authentic" colors. So why not just do that and distribute the movie as it was designed? Or, heck, even 2 versions if you insist that some audience likes that new more vibrant look.
Yeah I also had this thought. Despite popular belief, the film look is not magic. Especially since the article mentions they already had monitors calibrated for the film look during development. Why couldn't they replicate that for the digital release? The digital release it so blazingly different, I have a hard time believing that is the best they can do with modern colour pipelines. I mean the colour grading is completely different!
Surely either it was intentional or a fairly simple case of poor colour management.
