Yes, it helps if the 'fan' also happens to come from the industry, hence my use of single quotes around the term.

For example I work almost purely in log, and in the DCI-P3 colourspace as I want to keep the option of going back out to film and DCP at the forefront of my work,

I know Mike also works in processes designed to be able to go straight out to any current distribution format, whether it be cinema or home video.

Interestingly though, I believe it also helps if you are not just from the restoration industry, a background in FX, lens knowledge, film processing, on-set experience etc. all helps you to make an informed choice when evaluating a film source, and working out just why it is how it is, and how it 'should' be.

It is an area where being a bit of a journeyman can be more useful at times than being a narrow specialist. I don't know about Mike, but I am often blown away by the feedback from guys on the forum, that pick up the strangest little details or make suggestions that end up being quite useful.

Anyway, enough of my derailing rantings, I need to go earn some money to buy more HDDs :)