Well, if you listen to the interview, he was the one doing it and they set the setting at the beginning if the day and only changed things if the machine started to drift. That probably was between reels. From what he said, the machine was too strong and if you moved the film you risked breaking it. So I believe that his telecines on that machine had a uniform setting for every reel and they tried to stay consistent between reels. When you really think about it, there shouldn’t be any need to change the settings in the middle of a properly timed and processed itermediate.

Also, I just tried to match his transfer to the other transfers and after a few tweaks to adjust the contrast, levels, and saturation (reversing the settings that made it compatible with the old home video standards), it looks quite good for a pan and scan. And it looks so different from the 4k77 no-dnr release (which is pretty faithful to the Technicolor print). So my feeling that the color timing on the Technicolor prints is very screwed up is only reinforced.