bonzo.bits wrote:
I also assume a LD version of a movie will have reduced gamut compared to the HD and 4K versions
LDs, DVDs, Blu-rays don't have a gamut. We can only guess or assume (in the absence of metadata) based on standards or display characteristics of the time what the mastering display gamut was, but that's not encoded on the disc or inherent to the player, it's purely on the display end. The mVs coming out of an LD player can be represented in SMPTE C, Rec. 709, Rec. 2020, etc., but watching an LD in Rec. 2020 will clearly look wrong because those values were encoded based on how they were reproduced on an SMPTE C/EBU monitor.
Even on the display end, the difference between SMPTE C and 709 primaries are within error bars of a thorough calibration so there's probably no point obsessing over them.
bonzo.bits wrote:
So going from bluray on OLED to a digital version of ANH (not sure which version but from memory the consensus on the internet was that it was one of the more accurate ones for colour)
Unless the internet is basing this on how a number of original 1977 IB Tech 35mm prints look when correctly projected, I don't think we can say what is and isn't accurate to the original look. At least 4K77 is a scan of one good IB Tech print, though we don't know what adjustments were made in the digital realm and how it compares to the look of the same print when projected.
bonzo.bits wrote:
The OLED display I use has options for various gamuts (709, SMPTE-C, DCI-P3, 2020, etc) so I’m curious as to which one I should select when watching 4K77. Given OLEDs do only 70-something percent of DCI-P3 I’m guessing REC2020. Also, given that 4K77 was taken from prints or whatever, isn’t there potential that it’s a wider gamut than 709?
Assuming those out-of-the-box presets are accurate, probably 709, as I said in my last post.
OLEDs can almost cover the full P3 gamut at this stage, but not Rec. 2020. I don't think there's a display anywhere that can boast full 2020 coverage.
Every home video release of Star Wars is sourced from film with a larger colour gamut. What's relevant is how the video master looked on the mastering display, which, in this case, was likely Rec. 709/sRGB.