What finally worked came from a chance discovery.
I tried splitting the signal, but no joy, and even when there was progress there was detrimental effects elsewhere. I tried different ways of rescuing the highlights, but pulling keys and blurring channels proved a bit ineffective. Selecting Highlight Recovery in Camera Raw didn't help much You can already see how washed out and almost colourless the image is, and how all the micro details and highlights can prove difficult to deal with. ACR still has a better debayer system and provides a cleaner starting point, but overall Resolve offers more control with regards to video. I found a noticeable difference when I opened one of the DNGs in ACR, compared to Resolve. I found that the Bad Pixel and Chroma Smoothing actually made the artifacts worse, so I got better results by not selecting those options. I used MLVFS to convert the MLV file to DNGs. I compounded the already bad situation by closing down the aperture to f18, and along with shooting at a resolution of 1728 x 458 (to get 60fps without skipping) I was asking for trouble. I was reasonably happy with the composition of some 60fps footage I shot on a beach, even though I was having problems with my polariser, UV, and ND filters (bad skills on my part).
However, in cases where the outcome is borderline it is definitely worth exploring possible redemptive options. Sometimes the aliasing and moire (and other weird artifacts) are too pronounced to overcome, therefore rendering the image useless. One of the most difficult scenarios is when shooting a scene with a high dynamic range and lots of glare, especially if you're pushing the camera by way of higher fps (at the expense of vertical resolution) or Dual-ISO. I shot a lot of difficult footage during the summer as a means of testing my camera, ML Raw, and my post production process.
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