What a disaster.
I'd say the verdict may still be out:
"The color of money, everybody knows, is green. The color of pool table felt in Martin Scorsese's 1986 movie The Color of Money is ... blue? Wait a sec--rewind. That's not quite right, is it? Actually, it's wrong. The blue pool tables in The Color of Money have nagged the makers of the film since it was shot. When Scorsese began preproduction on the sequel to the classic movie The Hustler, he toyed with the idea of shooting in black and white. The studio, Touchstone, wasn't crazy about the idea, so Scorsese opted instead to "paint with color" for this story of an aging pool shark (Paul Newman) and his cocky young protégé (Tom Cruise). For the first two-thirds of the film, which takes place largely in a wintry Chicago, Scorsese, production designer Boris Leven and cinematographer Michael Ballhaus designed the film in gray, black and white. The results were striking, with one slight hitch: "Because of the nature of the lighting, the green felt of the pool tables kept going blue," recalls film editor Thelma Schoonmaker, a longtime Scorsese collaborator. "There was nothing we could do about it, because we wanted to make sure the skin tones were right, and the overall look of the film was right; so we let it go."
Last summer, Schoonmaker was at New York's Technicolor Creative Services staring at those blue pool tables again. When the film was first made, there was no fix for the problem, but thanks to digital technology, she could now correct it easily. "All we had to do was open digital windows on the pool tables and fill them in with green, without affecting the rest of the shot," Schoonmaker explains. Why was a multiple-Oscar-winning editor concerned with color correction on a 20-year-old movie? Because, like many classics from Hollywood's archives, The Color of Money is about to be reborn."http://www.popularmechanics.com/technol ... 496?page=2
"I held off writing about [Gangs of New York's first Blu-ray release] until I got an assignment from Popular Mechanics in the fall of '08, to write a major feature on the craft and art of high-definition digital transfer and how it relates to Blu-ray discs of classic and contemporary films. My hook—my 'you are almost kinda-sorta-there' anecdote for the lede—involved Martin Scorsese's editor Thelma Schoonmaker supervising a high-def transfer of Scorsese's The Color of Money. In the course of my interview with Schoonmaker, I brought up the Gangs Blu-ray, which another of my interview subjects, film preservationist and restoration expert Robert H. Harris, pronounced as among one of the worst he'd ever seen. Schoonmaker practically shuddered when I brought it up, saying that while she hadn't yet seen it, that it had been made without the input of her and Scorsese, and that she had heard what a disaster it was, and that she was almost afraid to look at it." http://mubi.com/notebook/posts/topicsqu ... ruary-2010
"Scorsese's The Color of Money is arguably an improved product over even its theatrical release, because it was remastered with care and attention."http://www.popularmechanics.com/technol ... /4295496-2
Would Disney really not bother to use the new supervised HD master for this blu-ray when they spent all the $$ to make it? Seems unlikely to me.