> so they must have matched their photochemical color grading with digital color grading

The VFX would be matched to what ever the spec would be.

Your argument would hold more water if it wasn't the _editorial_ department that had the DI in it.

In that video from the linked article is them playing back the film on a baselight with a blackboard 2 https://www.filmlight.ltd.uk/products/control/range_cn/index... (it might be a black magic board though)

I mean yes, they _did_ do a photochemical grade. But the edit was assembled digitally, the shot conformed, sent to be cut manually, and then final grade was done photochemically. The Person who assembled the film in 65 said "I get an EDL from avid and assemble to the print"

Conforming film colour in analogue is _massively_ hard. its time consuming and generally not fun to do. so it makes so much more sense to do that digitally.

it would also explain the number of editorial team doing colour, because normally they don't do any of that shit.