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the Krasnogorsk cameras are notorious of jamming if the sprocket roller is installed incorrectly or if it's shifted a little. It can be installed multiple ways but there tends to be only one position where it does not jam occasionally. If it was the roller issue then it can be corrected relatively easily by adjusting the roller position

those 100ft capacity Lomo spiral tanks are extremely rare and you will probably not find one anywhere no matter how much you are willing to pay for it :( . the ones possible to get easily are the upb-1a models which can process either two 15m (50ft) rolls of 8mm or 16mm film at the same time on two stacked spirals OR one 15m (50ft) roll of 35mm film if you remove the middle spiral plate and load the remaining assembly carefully (no center support then for the top plate to keep it the proper distance away unless you manufacture said support part by yourself) . If wanting to develop the full 100ft by yourself you may need to use bucket processing OR one of those "Morse" reel to reel tanks or their Soviet copies which are pretty similar in operation. (There is one of those Soviet ones on eBay right now, I purchased the other one if someone wonders where it disappeared so quickly 🤣 )

you will need a solenoid or a servo which presses the "run button" on the camera. then you can run a cable and button to start the camera remotely. and you will need to fabricate some kind of custom attachment to mount a mini cctv camera to the viewfinder. you may need to trial and error with the cctv camera lenses to get the least annoying image out of it. you will need to use the original spring motor. the K3 is not that useful camera for very serious work to justify heavy and expensive modifications to electronic motor (even crystal motor). it can be done but I would not bother because there is much better cameras for that kind of use if you need them. You may need to have remote focus as well depending on what you do. Preferably with a little bit more powerful motor than for example the Nucleus Nano which is amongst the cheapest ones (that motor would probably not work with the K3's primes very well because of the low torque. With very easy focusing lenses like AI-S Nikkors it works fine) Probably you will get tired to the K3 gimbal setup after couple of days or weeks but it is an interesting experimentation nevertheless. I did some experimentation with full sized Ronin gimbal and Konvas 1KCP a while ago. have not finished the video tap for it yet so it is in progress but it is fully possible to use this kind of setups if you are used to rigging them. Not rocket science at all, they behave just like any other camera except the balance shift when the film is running from spool to spool. Practical? sometimes, yes. Most of the time, maybe...

one does not usually need the 4k monitor for GRADING itself and it would need to be pretty large screen to benefit anything from it. But some kind of full resolution quality control device is essential and it better be as large screen size as possible to detect compression artifacts and sharpness problems. You will want to check compression and sharpness with the large screen, the colour stuff can be done with smaller real grading monitor. I personally do dailies grading with calibrated 27" display but the quality control part with a uhd 75" tv which is by my opinion just enough to detect problems if the material is intended for cinema release. There surely is better options for large screen quality control if wanting to spend tens of thousands to it but the as-large-as-possible-consumer-TV is the best one can do if not having budget for over 65" full 4k grading monitor. the problem with "4K" tv's is that they are not DCI4k but UHD so a little bit of scaling or side cropping is needed when viewing a dci image. Documentaries may be made in UHD from the beginning so it should be a non issue then. Just don't grade with that consumer tv, it is not enough for that job even if properly calibrated. it can be used for client preview during grading though, it might be good enough for that even if the colors vary a bit compared to the real grading monitor. the client is probably more happy with the larger image size and the small nuances are less important

I think that using heavy lighting equipment will slow you down and make the end result worse than working with lightweight gear and taking advantage of the natural light. You will need to know your locations very well to know which times of day the sun position is perfect for a scene. then you will just bounce and reflect the sunlight as needed and need to work very fast before the sun changes position. With lots of pre-planning and precise schedule it should work great but your scenes can't then be very long or complicated. try to choose a day when the sunlight will be consistent (no clouds at all or full overcast the whole day) . You can have battery powered led panels as a backup but they need to be easy and fast to setup whenever needed. You could use frames and silk to soften harsh sunlight but setting them up will slow you down considerably (there may not even be enough room to use them in the jungle anyway) and you will need a larger crew (though still easier than using hmi and generators in that kind of location) . it could be possible to add a small portable generator which would be just enough to run a 1.2k or 1.8k hmi to create sunlight effect on small couple of meters areas if absolutely needed. But as said you will need to work FAST and any kind of bigger lighting package will slow you down. I would see the biggest issue being the massive green ambience you tend to get when shooting around and under vegetation. You might want to have SOMETHING to try to cancel that out which is why I would want to take some led panels there if nothing else. otherwise it tends to be super green in the shadows and the sunspots still normal looking which looks kind of weird. surely there is some Indian productions where you could see how others are shooting in similar situations?

As Phil said it is pretty impossible to recommend any solution without knowing the specifics. As a general note, the logistics in that kind of location tend to be very challenging and probably the location is not easily accessible for big trucks and lifts/cranes so you are provably down to using small under 2.5k hmi:s on close to ground level with portable generators if you need additional light. Led lighting is also an option though not as powerful as hmi. Getting your lights high up over the trees is pretty impossible without the cranes/lifts of at least 150/200ft high and being next to a good road. Rigging the lights to the actual trees will take forever and will not look the same though could work if you have plenty of time and people trained and capable of doing that safely. I think a good gaffer can figure out some solutions for you if seeing the actual locations. One possibility is to use lightweight led lighting as backup and mainly just shape the natural light and trying to find good locations and times of day to shoot when the natural light looks great

they are meant for situations where the air is moving relative to the mic, whether you are outdoors or not. so if you are shooting indoors in a situation where the air moves (like near ventilation or opening and closing door etc) then it might help using the screen. You might do with only a foam windscreen or a zeppelin type system without the fur. as a side note, that type of windscreen shown in your picture is not the best when recording outdoors. It is cheap and compact yes but it does not take the wind noise off very well if you have any harder than the most trivial air movement. The zeppelin style screens with the fur are pretty mandatory in most outdoor situations and they are not that expensive considering that one lasts maybe 10 years or more in normal use. the point of the zeppelin style ones is to get more airspace between the mic and the windscreen to calm down the turbulence more. they have the added benefit of having better shockmounts for the mic which reduces handling noise a little more than those quirky rubber things used in those cheaper systems

It is cheaper if you need to record lots of material without on-set backup possibilities. Having a true uhd or 4k monitoring does not hurt either if doing more serious stuff with the camera. I don't see the lack of sdi as a big issue, there is cheap converters which can do the trick if sdi is needed

https://www.postproduction.be

something like Ursa Mini Pro G2 could be more useful in that price range. I think one could benefit a little from the interchangeable lens mount as well and the framerates and raw would be a huge benefit. if the customer specifically asks for that Alexa model and you will get most of your investment back from that single job then it would be no risk but I would not purchase a HD camera nowadays unless having a specific use for it which would pay back the whole bill very quickly ( like a live streaming job or something similar) . As others mentioned one needs to calculate the other expenses as well. The tripod for full size Alexa can easily be 5 to 10k, a usable quality lens set at least 8k or so (probably you would go with Xeens or with some kind of lower end zoom) . batteries and chargers maybe 3 or 4k . monitoring and follow focus (remote focus would be preferable) from 5k upwards. recoding media can cost anything but 2k would be more than enough for it if only shooting HD? throw in couple of K's for great quality ND filters and usable quality mattebox as well. the filters can easily be 500 bucks a piece and you really can't cheap on them because it will show instantly in the final image. the tripod and PL lenses and batteries are the biggest additional cost with the Alexa compared to more modern cameras. With other cameras it would be possible to use nice affordable vintage glass like spherical Lomos but I have understood most of them don't fit any Alexas or Amiras so one would need to stick with only couple of modern cheap PL glass options like Xeens or alternatively purchase the better ones which means 10 or 20k PER LENS.

I am not a big fan of Blackmagic products but the Pocket4k or 6k might work pretty well for the OP's use. one of the advantages is integrated display which simplifies using it quickly and traveling with it (though may be hard to operate on any other than eye level) . the main advantage is them being simple packages but still good recording quality. you will probably need external battery though for most real uses unlike with most other small cameras which complicates the operating a little bit. there is also the disadvantage of having only HD hdmi output so there is no way to use external recorders with it. for onboard monitors the hd output should be enough

the local broadcast store claims that it already has a small quantity of the 6K model in stock. If that's true it is really really impressive of Blackmagic. Finally they being able to deliver SOMETHING in time 🤣 I am boycotting their cameras for now so not going buy this one any time soon but pretty great thing anyway that they have something out already and not next year 😊 (I would need PL mount anyway so the 6K model would not do and the 4K model has too small sensor to be usable with the PL lenses I want to use. If they would have the 6K model with MFT mount then it would be pretty interesting for me )

here is a DIY housing project I am working on. Something similar style could work for your application if you can get someone to built it for you. This is just a prototype and I will change the design on next one but you will get the idea. This is made out of 10mm Lexan sheet (because I got leftover pieces of it for cheap) and the plastic dome is purchased from eBay. More high quality dome would be ideal for you though. I recommend trying to find the plastic material of at least 2cm thick if you want to do a housing this way... otherwise it is challenging to seal it properly because not having enough room for it. This is just a first prototype after all and I will just do basic tests with it so it will do for couple of weeks of use I hope 😅

there is also a great change of getting something knocked off when the camera hits the water at great force when jumping in. The custom underwater housing option would probably be the best bet especially if you want to get a clear image above the surface too. there is also the weighting issue. you need to balance the housing to be somewhat neutral in water which means you will need additional weights in it with that lightweight a camera. that means the camera setup is NOT lightweight on land and operating it may be more challenging than one would think at first. I don't know the exact dimensions but I suspect the custom housing would weight something between 5 and 10kg with that camera inside because it has considerable external volume even when the camera by itself weights close to nothing.