Giovanni Louisor

I believe the reason for it, and I think you're right in your observations so most of this will be obvious, is that the digital masters resulting from the DI—at least in the case of "Apocalypto"—were likely designed to match the 35mm release prints—these being the primary models for the movie's final "look"—and was graded under a print film emulation LUT, both for the film-out, as referential necessity, and creatively, for the digital master. In the same way a lot of movies shot on film were graded in the DI using print film emulation, before the inevitable film-out, digitally shot movies followed the same process, with additional considerations made to the digital material to bring it closer to, in gamma and color space. It's also possible, as it appears in the case of "Revenge of the Sith," for example, that many digital shot movies were delivered digitally without a print film LUT as the final transforming element, even if necessary as part of the digital intermediate for film-out delivery. But it looks like "Apocalypto," "Before the Devil Knows You're Dead," or even "Click," chose to keep the print film emulation as part of its final look for digital viewing. Since film-outs generally came to an end in the early 2010s, the look of a digitally shot movies was no longer bound to the "limitations" of a print film model; and their use was then applied "creatively" rather than as a necessary process. This likely resulted in their lessened use—for movies shot digitally, and shot on film.

The majority of the movie was shot on 35mm, with some of the night sequences (mostly exterior, with a few interiors) and "dusk for night" scenes, shot on the Venice, due to it's low-light sensitivity. And the use of the Phantom camera for the oil gushing shots. However, I noticed that the majority of night interiors were still shot on 35mm. And, yes, as Stephen says, a "particular" night scene was shot entirely on the Venice. Another day interior scene involving a home visit from the Shoun brothers (softer light) was also shot entirely on the Venice. And after a certain moment in the movie, the color grade shifts to take on a higher contrast look, which is an emulation of ENR. It looks similar to the emulation that was used on "The Irishman"—where its use becomes especially apparent in the last 30 minutes of the movie. Here's an interview about it with Rodrigo Prieto: https://www.motionpictures.org/2023/10/killers-of-the-flower-moon-cinematographer-rodrigo-prieto-illuminates-martin-scorseses-twisted-tale/