Karim D. Ghantous

Of course I do not know exactly what you want here, but I though I would think aloud a little bit. Have you considered using Ektachrome for this project? You do have to be spot-on with metering and it's only 100ASA. But, you did say you wanted contrast!

This may be of interest (or maybe not): https://www.reddotforum.com/content/2015/02/the-great-debate-ccd-vs-cmos-part-1/

This is the kind of thing you want to find, in case you can't find what you actually want. This particular comparison was not done on the same day, though, so it's quite useless for your purposes. https://www.dpreview.com/forums/thread/4213836

My understanding of this: Sandgren did not want to rate 5203 at ASA12, so he compromised and rated it at ASA25 and pushed it the extra stop. So he did the same for 5207, 5213 and 5219 to keep the process consistent. He could have just pushed two stops, but that might not have given him what he wanted. I haven't seen the film yet, BTW.

You might find that some people will lend you their slides. Or, an alternative is to find someone who took the same scene on both digital and Kodachrome, as a comparison. Not exactly as good as a proper chart but it's maybe better than nothing.

I'm not sure if this will help, but you might try Flickr. You never know what you're going to find on there.

I actually have no idea. I'm very curious about this stuff, I have to say. I might start a thread asking if anyone has knowledge or expertise in that field. I remember how the narrative for a year or two was that S35 was going to be overtaken by VV. Sure, Jan!

I am predicting that Red will make a 65mm sensor. This sensor will probably be 12K+, and provide more DR than even the V-Raptor. It might have to be a CCD, if they want a global shutter. But I'm hardly an expert in sensor design. This sensor will be placed in a camera body that's larger than Red is used to making. But that should be fine for those who think that serious cameras should be as large and heavy as a 535. Heck, it might even be a 645 sensor. "That's not full frame... THAT'S full frame." What the heck, right? The Alexa 65 has pretty much no unique selling point anymore, and arguably never did, not even for IMAX. YMMV.

Can you tell by the GUI on the LCD? See above at 4:58.

Well worth mentioning. We sometimes forget safety issues.

I've heard of DPs using shower curtains. FWIW. But I don't think you'll find anything cheaper than $1.25!

I wonder why b&w films now only have two layers? If you had a b&w stock with three layers (or even four, as there is plenty of room) you'd have a film stock with more DR than the best digital cameras.

That's nuts.

That's correct, but my point was that if we can draw some equivalents, and use some half-decent logic, we can work our way back. E.g. if A is like B, and C is like D, and we know the differences between A and D, we can sort of figure out the relationship between B and C. Anyway, it's not going to be that simple, because we apparently have very little information about this. Ultra Max 400 and Vision3 500T have the same number of layers, more or less. From Making Kodak Film by Robert Shanebrook: Log curves might yield a clue, if we have them for any given stock: https://www.filmshooterscollective.com/analog-film-photography-blog/a-practical-guide-to-using-film-characteristic-curves-12-25

That is so cool. I wonder if digital cameras can get there one day? Perhaps sensor size will be the limiting factor. It wasn't that long ago that video cameras were limited to 30fps or less. Even very expensive ones. But some 8mm cameras from the 1930s could reach 64fps.