For the letterboxing – I sent a 2.35:1 signal out of FCP into a DVX-100, a DVX-100a and an NTSC field monitor. I put camera tape over the “unseen” portions of all three to keep the framing consistent on all. I shot full frame in order to use the full res of the CCDs instead of digitally letteboxing it in camera and using less of the chips. We shot using the tape as framing guides and then masked it in FCP duting post.
As far as the coloring goes – for the most part the real vibrant colors existed in the original footage. I dropped the gamma then color corrected. After this I nested all my sequences and color corrected them once again shot by shot isolating the greens and using stills from “Amelie” as a guide.
I was happy that the colors still looked so vibrant on the web compression, but it still pales compared to the original footage.
There is a whole other issue with the color as far as using the LCD of the DVX-100 as a reference.