@ Number Six PABS vs BDC, my theory Up until 2000 all the releases of CH look to have been mastered from a theatrical print. so keep in mind that this print will have been around in the same state since the film was made. the film will have been shot, edited etc then all the matte shots like the 'within TV' and LRtH would have been processed. The titles and Amazonian burnt in sub sections (and the indeed PABS titles) will also have then been added in post production and then a final master would have been made of which theatrical prints would have been made. Having PABS - Pan American Broadcast System - would have made sense for story continuity as it is mentioned within the film previously. Fast forward to 2000 and the first remaster that appeared first on the second EC release. This version looks to have been took from a master that was created during Post but before the Titles were added. I suspect it was at this time that BDC was added - probably by the company that did the remaster (originally for EC?) and it could be someones initials along with some of the other title changes during the sequence, an easter egg for the amusment of the remasterers if you will. After this remaster in 2000 it would then be printed back to film and archived, be it digitally or on analogue tape for sale to the bidders for dvd production houses the world over. So a new master copy of the film was created and the old theatrical print was not needed anymore. I think that the Grindhouse Version is a Hybrid of this master and a nicely preserved cleaned theatrical print due to the colouring of the found footage sections - I do wonder if this colouring was intentional by Deodato to help sell the effect of the lost footage and the 2000+ remasterings did a too good a job by removing this during colour correction. Just my thoughts.