msycamore said:

What I meant was I think you can blend "color corrected" footage from the Japanese Special Collection LD with the GOUT better than the SE because of the difference in resolution between the GOUT & SE, the JSC doesn't have DVNR applied to it.

Oh, I see, it makes sense now. But why on earth would you do that, when you already have the fixed GOUT? OK, not totally free of smearing, true. But making a HD version is more useful nowadays.

Chewtobacca said:

I don't think there will ever be a print with the colors of the original films. Even the original negatives will have faded by now, so even work on them involves conjecture. Adywan's colors, whether conjectural or not, are good enough for most people, I would imagine. If somebody can do that kind of color correction and scene restoration now, I don't see the need to wait for G-force to make his final version to make a theatrical restoration.

Isn't the GOUT faithful to the original? Or at least the most consistent? Is there any better version (official or non-official) than that? I haven't seen Adywan's work, but even if looks good, it may not be accurate.

At the present state, I think the fixed GOUT should be used as a reference and guide, unless someone can name a better source, which can be presumed "original" as far as colours goes.