I'm a colorist and it absolutely does effect color. Every telecine is different and will create a different looking scan. Telecine operators will do a one light pass to try and compensate but any scan needs to be adjusted to achieve what the artist's original vision was.
> Every telecine is different and will create a different looking scan.
I mean they should be calibrated, so they have a different feel, but they shouldn't be wildly different like the screen shots.
I know the spirit operators did magic, but they were in the advertising team, and I was in film so I was never allowed to visit the sexy telecine room.
No, it's not. There is a big difference between Chinese-level control of information and what is seen in the west. Naivete would be believing that the west has none, or maybe that the West has so much that it is somehow already an Orwellian Big Brother state.
RSS is still alive and well! I even keep a public rss river feed of a bunch of sites I like so I can share my curation with others: https://infoscope.disinfo.zone - of course this has an RSS feed too...
I'm a film colorist and have done the film print out method plenty of times.
You don't need to print to film to dither and reduce banding, it's trivial to add grain to achieve the same (either digitally or via film grain scans which are overlayed).
The film outs are just a different method of getting a film tone, curve, and grain - though honestly I've done some where people were unable to identify which was the digital master and which was the post film out version. Much of the time it's just an ego boost for the director and dp and a competent colorist can easily recreate it. That said, it's fun to do and means less work on my end so I don't discourage it.
I use a Yubikey as the 2FA for my bitwatden, then store all the TOTP codes with the passwords in the same vault. Quite convenient, and also adheres to the principles of MFA