Color in 70 mm: Lawrence of Arabia and cinema as pure spectacle

The thesis written by JR Lorenzo sparked special interest in Dado Valentic, who was impressed by its depth and by the cinematic perspective with which it approaches Lawrence of Arabia. So much so that he decided to dedicate a full episode of Colorist Meetup, the reference podcast for colorists around the world, to it. In the conversation, they explore the pillars of the study together and the enduring relevance of the film in the contemporary way of thinking about and designing color.

Lawrence of Arabia represents, for several generations of filmmakers and audiences, the idea of total cinema: a combination of spectacle, technical risk and psychological depth that is still a benchmark today. As part of the Colour Training Master’s program, JR Lorenzo has dedicated his final project to studying this work from the perspective of color in large format: Color in 70 mm Film: LAWRENCE OF ARABIA – The Sublimation of Cinema as a Spectacle.

The result is a piece of research that combines the history of large formats, an analysis of the historical figure of T. E. Lawrence, a detailed study of the film’s color decisions and a review of the restoration process that has allowed us to see it today in all its splendor in 4K HDR. This article sums up the key points of that work and situates the thesis as part of the DNA of LORENZO Colorlab.

From the birth of spectacle to 70 mm

The first part of the thesis works as a historical overture. Starting from Hollywood’s crisis in the 1950s and the threat posed by television, the study reviews how the industry responded by committing to larger, more immersive and more spectacular formats: Cinerama, CinemaScope, VistaVision, Todd-AO and, finally, Super Panavision 70, the system in which Lawrence of Arabia was shot.

JR Lorenzo analyzes the technical and aesthetic implications of these systems: negative size, aspect ratio, lens type, definition, grain stability and color reproduction. All this helps us understand why David Lean’s film, shot by cinematographer Freddie A. Young, becomes a turning point: a work that takes the concept of “cinema as spectacle” to its highest form, without giving up the complexity of its main character.

The man behind the myth: T. E. Lawrence

The second section, Miracle in the Desert, focuses on the real figure of T. E. Lawrence: archaeologist, spy, writer and a key player in the Arab Revolt during the First World War. The thesis contrasts biography and cinematic icon to understand how the film constructs a contradictory, brilliant and deeply wounded character, oscillating between epic and self-destruction.

This historical and psychological context is not just an appendix: it conditions the staging, the way the desert is framed, and the way wardrobe, light and color turn the protagonist into an almost mythical figure, yet always crossed by doubt.

Color analysis: from the physical desert to the inner desert

The core of the work is a systematic analysis of color throughout the film. Following a structure by blocks and sequences, JR Lorenzo studies how the palette evolves—from the more neutral and cooler tones of Cairo to the extreme ochres, nocturnal blues and almost blinding golds of the desert—and how that evolution mirrors the character’s inner journey.

The thesis breaks down key moments (the “match cut”, the first entrance into the desert, the crossing of the Nefud, the taking of Aqaba, Deraa or the arrival in Damascus) and links them to concepts of visual storytelling: contrast, separation of planes, dramatic use of the sky, negative density and the way 70 mm stock responds to real light.

This study does not limit itself to describing “beautiful colors”: it is supported by tools and criteria from contemporary color grading, in dialogue with current HDR practices and color-managed workflows, to understand what we can learn today from Young and Lean’s work and how to translate those lessons into current projects.

Restoration, new prints and a “reborn” color

Another major block of the thesis is devoted to the history of the different versions and restorations of Lawrence of Arabia. From deteriorated and shortened prints to the restoration led by Robert A. Harris and the subsequent remasterings, it analyzes how each intervention has affected color, contrast and the theatrical experience.

Here the work connects directly with the daily practice at LORENZO Colorlab: the tension between absolute respect for the original intent and the possibilities opened up by current technology—higher resolution scans, wide color gamuts, HDR, exhibition on high-luminance home displays, etc.

From research to the studio: what it brings to LORENZO Colorlab

This thesis is not just an academic exercise. It is a statement of principles about how JR Lorenzo understands color work: as a bridge between film history, technology and emotion. Research into 70 mm, large formats and the specific case of Lawrence of Arabia feeds directly into the philosophy of LORENZO Colorlab: technical rigor, love for celluloid and a contemporary approach to grading for film, series and advertising.

The project was developed under the mentorship of Dado Valentic within the Colour Training Master’s program, and reinforces the studio’s vocation as a space for applied research, where each assignment is approached with a blend of artistic sensitivity and technical depth.

If you’d like to know more about the process or are developing a project where color and format play a key role, you can get in touch with us via the Contact section.