Miriam Hopkins and Nigel Bruce are seen in this frame from the restoration of Becky Sharp done at YCM Labs. The print was made by directly optically printing the color separations to Eastman stock, rather than going through an inter-positive/inter-negative process. This unusual method resulted in a print that was remarkably like the original Technicolor dye transfer. The original Technicolor frame showed substantially more of the right and bottom of the image. There are geometric distortions in the Cinecolor copy also.
The film was sold by the Whitneys in 1943 to Film Classics, Inc. Their re-release was made not in Technicolor, but in the substantially inferior Cinecolor two-component process. To add insult to injury, the 35mm prints were cut from the original 84 minute running time to 66 minutes. The 16mm prints were done at the full running time. Various original camera negative and print master elements were lost or destroyed, causing substantial work at YCM in attempting to restore Becky to her original beauty. Note that there is little depth to the image and the beautiful Becky looks like an old white haired crone rather than the young blonde Ms. Hopkins. Becky's white and lemon yellow dress has become a pale pink.
The above photos were reproduced from the Robert Gitt - Richard Dayton article on the restoration of BECKY SHARP in the November, 1984 issue of American Cinematographer.