Looking forward to seeing what you get with your Z10k. I find the wider stereo base of the Panasonic makes a BIG difference in perceived depth. The difference between 32mm (Panasonic) and 42mm (JVCs) is dramatic, as is the wider stereo base. I'm seeing separation at much greater distances with the Panny. Depending on how closely you can get the Sony's and Z10k to match up in other ways, I could see the very wide shots from the Sony's mixing well with medium and CU shots from the Panasonic.
I don't see much ghosting with these particular shots (on any of my 3D displays), even with the increased gamma. But the black crush is definitely there in the first version. I overdid it. In the latest render, I've brought the image back much closer to the original. It all looks a bit lifeless, though, even figuring in the lack of color due to the time of year. I have to play with the settings to try to get closer to my JVC footage in terms of impact. The JVC's may oversaturate, but the thing I like most about them is how much contrast they have. They really pop. If I can't get closer, the shots won't mix well in the same program. I have a lot to learn about the "scene files."
I think I'm really going to like the Cyclopital3D 22mm lens, especially for Steadicam work. One area where consumer camcorders have always been especially weak is how wide you can go with them. For me, a wide angle lens can give a program scope and dramatic impact much better than a normal. I'd wager that 22mm is where a lot of filmmakers feel really comfortable for many of their shots.
I won't get around to the SBE video for a couple of weeks. I'm anxious to find out how it compares to the JVC SBE. It's larger, so you don't lose as much of the wide angle range.