Cool, I'm interested in this as a way of finding out what the colours should be for colour correction.
Btw, I noticed this:
One drawback of saturating the GOUT is that it sometimes brings out the flaws in the master. Although difficult to see from a still, this shot has a lot of video noise and artifacting in the sky, because the original negative is very grainy and also because the video master has a hard time with strong primary colours. This noise is on the uncorrected GOUT but it becomes more noticeable when saturated. The 2004 master had the same problem with this shot as well, and you can see it in the Puggo 16mm too.
The 2004 master can't possibly have the same problem with this particular shot as it's been replaced by a completely new one for the SE.