True, I forget that nuTrek used the overused teal and orange thing so that definitely had a factor. I must have been confusing it with the situation of SUPERMAN RETURNS, where it was at one point very colorful and vibrant in the early stages but in the actual release it was murky and desaturated. That was digitally shot on what was supposed to be by Panavision's new Genesis camera It's not that Nolan dismisses digital entirely, it's that he uses it minimally because he prefers sticking to traditional methods. Spielberg was kind of the same for awhile because of his insistence on editing film non-digitally (while composites are done digitally). He's not one of those filmmakers that outright dislikes everything digital to the point that they prefer using old optical printers for composites (and yeah, I've met people who feel that way about composites).