the WHYs of the optimal script design
 

I have been (attempting to) analyse the optimal script and have a few questions. Basically, I'm working on cleanup scripting for analog captures and an encapsulation of the optimal script so it can be applied in a field-oriented manner for non-film source (broadcast, camcorder, etc.). What I DON'T want to do is cause problems for the optimal script by how I scrub analog capture noise.

Motion adaptive filtering - This is to smooth out action areas as a way to gain bandwidth, correct? How smart is it? Does it know, for example, not to blend single-frame flashes into other frames?

Why is Limiter in the script more than once? Is this an effort to reduce near-black swim?

The static filter looks like it does a spatial smooth/sharpen then crop/resize then temporal smooth/spatial smooth.

Is the first one an attempt to limit resizing artifacts and ghosts? I'm not sure why it's being done twice. Unless, of cource, the theory is like that of using 2 types of light abrasion instead of one gouging.

Why are B and HQBF parameters of asharp not used?

Why MergeChroma instead of something like CNR2?