Brian Drysdale

The problem is that filmmaking involves more than shooting the film. It involves a preproduction stage, which is often a lot longer than the shooting, unless all the elements are lined up (script, casting, art direction, locations etc) the DP has limited options. Filmmaking is a collaborative art form, so a good director makes full use of their cast and crew, as the saying goes how good a film is going to be, is often decided before a frame of film is shot. That's not forgetting the post production people - DPs may not be happy about a final grade that they don't have any control over. You may have some local cinematographers who have strong personalities, however, the film belongs to the director. Some directors don't get hands on with the actual shots, some may have discussed it in an advance with the DP or let the actors run through the scene and allow the DP relative freedom in the coverage because they trust the DP knowing that they have an understanding of what the scene is about. Inexperienced directors may defer more to an experienced DP, but how well that works depends on how much they have a common goal. Low budget films, which often involves cast and crew working for little or no money can have different dynamics, but the DP should be working to create a director's vision. However, even on a production with funding I know one cameraman has a told a director "you'd better be careful, otherwise I might give you what you asked for". There is an element of picking a DP because they've got gear, but if that's just the reason it mightn't work out in the longer run. DPs have owned gear for many years, so there's nothing new in that, it was not having the costs of shooting on film which allow a wider range of people to make films.

Ronford tripods are another option, they are slightly heavier than the Sachtler, however, you're more likely to find used ones.

I don't think Sachtler offer carbon fibre legs with a flat/Mitchell base, but they have heavy duty aluminium ones. These would be a bit lighter than your current wooden ones.

I strongly suspect that writers would disagree and put the story first and then character, although they may even reverse those two, since the story itself is driven by fulfilling the character(s) need and their overcoming of the obstacles placed in their way. An example of film having great cinematography, music and editing is "Jonathan Livingstone Seagull" https://en.wikipedia.org/wiki/Jonathan_Livingston_Seagull_(film) and yet not really working as a whole.

Originally, they used to do matte painting on location or on the studio set, later in post production. However, this was a highly skilled job, Albert Whitlock specialised in this work https://en.wikipedia.org/wiki/Albert_Whitlock . If interested there is a book "The Technique of Special Effects Cinematography" by Raymond Fielding, you can find it on Amazon, however, it's expensive.

The red numbers are transmission stops. On the 9.5 to 95 zoom you really need them because at f2.2 the transmission stop is T2.8 on a reflex camera, if you've got T3 I assume that's to cover the built in reflex viewfinder that attached to the lens.

Unless you've got a 400ft magazine, the Bolex can be wasteful of stock when shooting extended dialogue scenes with 100ft rolls.

My understanding in the past was that they used the clockwork spring motor of the Bolex.

I'm reading various details on the Bolex, some are saying hand cranked, while others are saying clockwork. If the latter, that usually looks fine, the issues arise if doing sync dialogue or a scene that lasts longer and the spring can last (20 to 28 seconds seems to be the range). If hand cranking, that's a deliberate decision.

You could light as if for B&W, to create a separation by use of tone and contrast.

The clapperboard also has a psychological importance. It tells the cast and crew that they're going for a take and not doing a rehearsal. Although some directors prefer not to use it at the head and slip into the performance while the camera keeps on running. In that case a tail slate can be used.

There are companies who will engrave the film's title, together with the director's and DOP's names (as required) onto the clapperboard.

If you're not having and leader at the head or tail, you should inform the lab, otherwise you may lose part of the opening and final shots.

That looks like a tape splicer for joining processed film prints, rather than raw stock. The first few feet of film on the head and tail on a daylight loading roll is to protect the usable section from exposure. Even on rolls that require a changing bag to load into a magazine, you allow a few feet at the head and tail for the lab, to avoid damaging the actual images.

It's the nature of older lenses, they made the flares etc as part of the style in the 1960s. The Zeiss 10-100mm T3 is better, however, it has triangular flares.