David Mullen ASC

That means the prints were Technicolor dye transfer.

"Rear Window" was shot in Eastmancolor, not 3-strip Technicolor

To me, adding scratches, dirt, and obvious jitter and gate weave only makes sense if you are specifically trying to fake the look of an old print for a story reason. They don't make sense as just a textural "film look" approach unlike adding grain -- grain is inherent to how film creates an image, but scratches, dirt, etc. are just external damages. It would be like adding dead pixels or corrupted file artifacts to a digital image -- that only makes sense if it is a story point.

That makes sense, "Followship" was the only one not to originally go through a D.I., though large portions did. So the original cut negative was a mix of camera negative and recorded from digital negative. I remember at the time talking to someone at Deluxe Labs who told me that the digitally corrected shots were recorded back to Super-35 so the whole movie could go through an optical printer blow-up using an IN/IP. The second and third films looked finer-grained because they went through a D.I. instead of an optical blow-up using dupe elements.

It's confusing online but it appears that most of the 4K restoration of the LOTR trilogy involved upscaling the old 2K masters; I think a few select shots were redone in 4K.

I don't know the history of the Primo zooms. The 19-90mm came along later than the original 5:1 and 11:1 Primos.

Since real bars use a mix of types of lights, it allows you to create the look you want in terms of mixing hard and soft lights and using colored lighting. It all depends on the location and the mood you want based on the story so there are no generic answers. It also depends on if you are shooting dialogue scenes at the bar counter versus a table. I filmed in a lot of NYC bars and nightclubs over five seasons of "The Marvelous Mrs. Maisel" and two seasons of "Smash" earlier and there was no single generic approach. I remember once wanting to try out a blue neon look for a sequence only to discover the location was all wooden countertops and red leather booths and red brick walls, so I didn't want to fight that warmth by pumping blue light everywhere. To be different in this case, I tried putting some Leko spots straight down along the wooden counter with an iris in each to create a row of hot circles that bounced up into people's faces with warm light.

85 and 85A are the same filter I think. There used to be Type A film and Type B film, Type A was balanced for 3400K (lighting under tungsten photoflood bulbs) and Type B was balanced for 3200K (regular tungsten movie lamps).

I saw it at the LA Live Regal in downtown LA -- the theater was better designed for IMAX than the Mann Chinese, more of a stadium rake (but not as steep as a true IMAX theater)... it seemed more like a Dolby Cinema theater with soft leather reclining seats, wide aisles, etc. and a big 1.90 : 1 screen, meaning the 15P 70mm image was a square inside that. Which was fine... but I could have sat bit closer to compensate if I had known. Unmasked projection. Looked great. I hope I find time to see a 5P version. With "Oppenheimer" it was the reverse, I saw the 5P 70mm version first.

Bounce an LED or two into something, maybe an 8x8 or 12x12 Ultra Bounce or bleach muslin. Get big stands so you can raise it and tilt it down a little. For tight shots maybe you can get away with something smaller and lighter like an 4x8 poly (beadboard).

You may want to add a little ambient blue dusk light as the real light fades just to even it out or extend shooting on tighter shots.

If the candles aren't dimmable then they will get brighter as the dusk light gets darker. If they are LED candles then I suggest preparing some additional sets that have been darkened in advance that you can swap to, perhaps by spraying them down with Streaks N Tips. If the LED candles are in the background and out of focus, you could try draping bobbinet over them when they get too bright. As for whether 3200 ASA is too noisy, you can test that in advance. On an Alexa, that's borderline too noisy but some noise reduction in post might fix it. Is this an exterior with candles? You might have to be prepared to dim up your own large, soft blue light near the end of dusk.

Decide how much underexposed the image should be because the actual light levels are dropping constantly. Safe would be to consistently underexpose by 1.5-stops for a dusk look, for example, assuming a base ISO that is not too high. Near the very end, you have the hard choice to make whether to quit or to shoot in very dim conditions which will require switching to a higher ISO. Using very fast lenses at that point can help, even cheating a bit a using a bigger shutter angle like 240 degrees, even 270 degrees IF there isn't much motion in the frame. As a final resort, you can plan on using some post noise reduction for those last shots. Also don't be fooled by the monitor which will become this bright thing in your eyeline, like staring into a table lamp. This tends to make things on the monitor look too bright and you naturally tend to underexpose more to compensate. Using a waveform or false colors to keep reminding yourself of how dark the shadows to help, but otherwise just remind yourself that your monitor image will feel bright when it isn't. If you aren't shooting raw, then watch out letting the image get too blue as the dusk gets later -- you can always make it more blue later so keep it subtle. You might find that you are starting out at 4000K in early dusk for a blue look but by the end, you're back to 5600K. The light drops fast so make sure you have ND filters ready to swap and any lighting is quick to dim. LEDs help but sometimes near the end of dusk, you can't dim them enough so be prepared to add ND gel to the lights. Or if you have enough output even earlier to not need 100%, start out with ND3 or ND6 gel so you can get to 1% by the end and not need to use more gel.

My early prep consists of writing a list of shot ideas per scene, not a detailed shot list. It's more of a reminder list of things I'd like to consider.

I did not know there were 35mm spherical Todd-AO lenses made, just 65mm spherical and 35mm 2X anamorphic. I just tested the 65mm set refurbished by Zero Optik for the ASC, now for rent at Keslow Cameras. I used some 35mm Todd-AO anamorphics on "Westworld" Season 2. https://www.keslowcamera.com/gear/asc-todd-ao/