Brian Drysdale

Apart from it having possibly a variable frame rate. you may find that it has a non standard target frame rate,. Mediainfo will do an analysis of your media.

Let the sound recordist decide on the tools they need, A professional will have both in their kit.

It really depends on how good your actors are. If you're doing it in post it can be difficult to recapture the emotion that was in the original performance. They won't be feeding off the other actor and they could be repeating the line again and again to get the best match. However, you could try recording the dialogue for sound alone just after you've got a good take. That's thought to give a fairly good match that could be used for ADR, since the actor's performance won't have drifted too much.. In the end, unless you've got the builders next door, a competent sound recordist should get good original sound in a scene like this.

Having two people sitting for most of the time for 15mins is pretty restricting in dramatic terms. I know some sit com programmes have used everyone sitting in a sofa, but that's part of British culture as they watch TV. In this case ,You may need to think about body language and how much sitting allows the actors to do, especially if this is a serious argument, rather than a little tiff. Just a few passing thoughts. I would try and avoid needing ADR, since something like this is all about the actor's performances.

I recall going to an industry film quiz in Dublin, it was the camera assistant team that won.

What type of work you do? There are all types of courses, but if you're shooting low budget films with a DSLR you may not want to do a Steadicam Operators Association workshop, that costs as much as the cheaper Steadicams. The Tiffin Steadicam website lists a range of workshops including a 2 day introduction. https://tiffen.com/pages/flysteadicam

I gather Les Bosher offers a PL hard mount for the Aation. http://www.lesbosher.co.uk/

You could watch "Don't Look Now", there's a big height difference between Donald Sutherland (6ft 3in) and Julie Christie (5ft 2in).

Kodak is moving into producing key pharmaceutical ingredients https://www.bbc.co.uk/news/business-53563601?intlink_from_url=https://www.bbc.co.uk/news/world&link_location=live-reporting-story

An editor friend with lots of experience of UK labs says that they deny things. He put it more strongly, so you have to push back.

They are pretty frontal, which helps, Dedo light are good for this type of stuff. It's certainly not newsreader lighting.

On a properly funded production DPs don't usually get a percentage of a film, they receive a fee for their work. You may get a percentage if the producers don't have the funds to pay you, however, don't expect to see anything if the film is sold, there's a lot of clever accounting that goes on.

No need, since there already is ND gel, which you can buy in rolls, which you can also use on Lights.

You won't get minutes from 100ft ar 24fps, it'll be 1 minute 7 seconds.

Just checking "The Godfather", the credit is "Color by Technicolor". Even photochemical prints from an original negative, made over a number of months, can vary depending on how the processing was running on a particular day and other factors.