Reintroduction of the dye transfer process

After its reintroduction in 1997, the dye transfer process was (somewhat unexpectedly) used in several big-budget, modern Hollywood productions. These included Bulworth, Pearl Harbor, and Toy Story. The distinct "look" this process achieves, often sought after by film makers looking to re-create the period of time at which Technicolor was at its most prominent, is difficult to obtain through conventional, high-speed printing methods and is one explanation for the enduring demand and credibility of the process.

The latest motion picture dye IB (imbibition) transfer process developed during the 1990s is greatly superior to the process used during the 1970s and of much higher quality than modern Eastmancolor stocks. The prints exhibited a higher color gamut and color satauration than modern Eastmancolor stock and could be made consistently and accurately for large numbers of prints. There were no longer visible density and contrast variations that occurred most often with earlier three color Technicolor. The new process was also about as sharp as modern Eastmancolor process with slightly higher contrast, but they appeared sharper due to the higher contrast.

Technicolor was purchased by French company Thomson in 2001 from the British company Carlton Communications, which discontinued the dye-transfer process in 2002.

The visual aesthetic of dye transfer Technicolor continues to be used in Hollywood, usually in films set in the mid-20th century. Parts of The Aviator, the 2004 biopic of Howard Hughes, were digitally manipulated to imitate color processes that were available during the periods each scene takes place. The two-color look of the film is incorrectly cited as looking like Technicolor's two-color systems, and is in fact a facsimile of Hughes' own color system, Multicolor. The "three-strip" Technicolor look begins after the newsreel footage of Hughes making the first flight around the world.