Yes, that is the thing now--at least with Empire, it's unknown how many of these little things were in the "final version" shown in 1980, like some of these minute re-comps.
Here is one way to check: take a source that has the final holograms, like the JSC, and re-check suspects.
Here's another thing to consider: whether the versions with the "final composites" are actually true 1980 screened sources. I've brought this up before, but isn't it possible that the GOUT is the version shown theatrically, but they had actually finished some re-comps that never had time to be put in but then inserted for later releases on home video and re-releases? I know the last two weeks of Empire were chaotic with last minute composites being printed, some of which weren't ready in time for the 70mm version. Maybe the 35mm initial released missed the boat on a couple too. Or maybe they made multiple 35mm release versions, one wave which went out opening day (the GOUT print, which had only part of the holograms completed) and then one that went out a couple weeks later (or perhaps not until the re-issue?).
I guess who the hell knows. Could be based off the 70mm version, but if so why no unfading Emperor? So its not the 70mm version as we know it.
This is why it is so weird. It's in between the 70mm version and the "final" 35mm version seen in the 1992 release for example. It has the Emperor fading in like the 35mm, but there are no artificial scanlines like the 35mm.
So I guess these are the choices:
-It's a May 21, 1980 IP, with the later additions being done either in later weeks and included in later prints, or they were never in 1980 prints but were added for the 1981 re-release, or they were never in any print but were added for home video.
-It was a "revised" 70mm version that was prepped after the initial 70mm printing but before the final 35mm release was shipped. This might have been done because the 70mm was full-out edited differently, aside from having earlier composites. So, seeing that they had edited the impending 35mm differently, they started prepping a new 70mm print for release. This is the GOUT. However, since the 35mm requires less advance prep, they still had a day or two in which they decided to re-do/add some minor composites like the holograms. So even a "revised 70mm" was slightly different from the 35mm version seen. This is convoluted, but possible.
-It's just a work-in-progress IP that had been stored. It's more completed than the 70mm, but not as completed as the final 35mm release. Perhaps they had readied this to be used as the IP, but then pulled it at the last second when they had re-done some composites.
I can't think of any more here. I would say the first and last explanation is most likely, and I am leaning towards the first. As to when the changes entered--that's a matter of pure speculation I guess. The 16mm version may help determine if it was or wasn't added for home video. It still doesn't tell us if it was 1981, or when specifically in 1980, or if this was work-in-progress (if a video can be derived from this, no reason a 16mm commercial print can't be).
I am assuming that this mysterious situation is unique to ESB. But now I wonder, if they had all these early-version IPs sitting around and decided to use them for video not realising the differences, maybe it's not.