Quote:
Just because the patch came out black (or super-dark blue), it doesn’t mean that’s what they intended for it to be.
I disagree. James Cameron is such a detail oriented nit-picker of a filmmaker, I can't believe the patches would have
been black if he didn't WANT them to be black. I always operated under the understanding that the "black" field was
to represent the black of space, since the USCM does operate "out there."
Quote:
It could have been submitted as navy Blue, but after printed it turned out black. This was in the 1980s, after all.
I had a professional navy blue back drop in my garage since the mid 80s, and when I filmed in front of it, it always turned
out black on film. Even into the late 90’s when home video cameras starting getting fairly good.
That's the difference between consumer VIDEO electronics and professional 35mm FILM stock, light metered at filming and
professionally processed after filming.
Until recently (last... 15-20 years or so) you could never get "professional" cinematic results from off the shelf consumer
grade video cameras with a single processing chip costing under $3,000. Now you can get 3 CCD cameras in that price range
that will give you much better results.
Also, keep in mind your garage projects didn't have a 50 million dollar budget. I imagine getting things silk screened in 1985
didn't take that long, especially for a company with a movie studio production contract. The patches I had dye-sublimated
last fall took about 2-3 weeks, from final art approval to having them in hand ready to trim. And part of that delay time was
my fault.

Anyhow, back on topic... Nice graphic!
Not so sure about the hot pink though. 
Russ
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