I believe Harmy already stated after the release of 4K77 that his projects will now focus more on approximating what a respectful Blu-ray release would have looked like, rather than what a film print would have looked like.

For example, film prints have the occasional damage from an upstream source like an interpositive (the so-called Tantive IV “burn marks”). They have reel change cue marks, they have gate weave, they have different contrast and grain characteristics from the optical duplication process, etc. So even a very clean theatrical print (such as 4k83) will have these things. But your well-regarded high-end bottomless-studio-funding no-holds-barred Blu-ray restoration from camera negatives (Lawrence of Arabia or My Fair Lady) will not.

Harmy had until now been incorporating a little of both worlds (gate weave, remaking damage, etc), and if I understand his intention correctly, he means to make the DeEd’s more like the latter cases – more of what you’d see on a quality Blu-ray, less of what you’d see in a theatre. So I’d expect his goals now look more like: More detail than the theatrical release (well, what you can manage from the crappy 2011 Blu-rays at least), rock solid image stability, extremely clean (but not degrained) image. Things that you wouldn’t actually want from a theatrical preservation because theatrical prints weren’t like that.

For that reason, I expect at least in the long term I’ll prefer Harmy’s versions, because what I’m looking for is a respectful Blu-ray release, not really a theatrical preservation. Others will prefer the 4KXX series. I doubt either will ever be “best” because – at least looking forward – they’ve got different goals.