Since I just finished my edit of Star Trek: The Motion Picture, I have a few notes and changes to add for your series of comparisons. I know this thread is for Star Wars, but since bluesky doesn’t have DMs, I didn’t want to send an unprompted thread your way over there.
TDE22.008847-Viewscreen.png
I don’t think this is a recomposite, as you don’t see any additional clarity to the live action. Rather, it’s a modification on top of the theatrical effect (you can see the borders of the view-screen altered if you brighten up the shot).
TDE22.014394-Klingon Reframe.png
“The explosion has much more detail thanks to the HDR pass”
Not really what’s happening (as this is an SDR image), it’s just that the colorgrade shows more highlight detail.
TDE22.148958-Kirk Catch.png
This shot is not recomposited (same exact frame geometry), it’s just that the smeary filter they run a lot of effects shots through in the theatrical master hits it really badly here.
TDE22.166347-Matte Lines.png
Also not recomposited, they stabilized the background to remove a jump that’s part of the theatrical effect and isolated the Enterprise to keep its motion on the original path (and removed the matte lines with a chroma-key).
TDE22.177879-Lightning.png
The color grading also brightens their faces a little when the lightening strikes.
TDE22.193901-Vger Ascend 0.png
Not recomposited, that’s all differences due to color grading.
As you’ve no doubt realized, they do a ton of changes via color grading and messing with Davinci Resolve throughout the film and cataloging every one would be an enormous and probably fruitless endeavor (my favorite, which I can’t find now, is an inexplicable one-frame replacement of Uhura’s finger). However, I feel the following differences change the reality of the frame and more substantially alter the mise-en-scene in the way the other changes do.
For these shots of Kirk, the DE selectively brightens his face (very awkwardly).
The DE removes the shadow of the lighting rig that falls on Chekhov. Comparison w/ the SLV (Tone-mapped and brightness matched with theatrical bluray).
This shot is also colorgraded to make the deflector dish amber.
The DE re-frames this shot to show all of the man on the left, taking advantage of the fact that section of the frame would be on the original negative (and which would have been matted out by the soundtrack portion of release prints). Comparison w/ the SLV.