Brian Drysdale

I suspect they used the Technicolour Lab in London, using the standard single strip 35mm film, like everyone else. The imbibition dye process may have been an option up to 1974 although, some film used them up to 2002, but you also could get standard prints. Lots of British film used them, I used them on a 35mm short (standard prints).

You had to ensure that you had a large enough loops on the CP16.

"I'm Cuba" uses infrared: https://theasc.com/articles/flashback-soy-cuba

The current downturn in production will affect all companies in the industry. Arri have more than cameras in their product range, they apparently have good revenues in recent years, so the chances are if they run into financial difficulties in the short term they will be bought out and taken into new ownership. Arri aren't the only company making high end cameras, so that market sector isn't going away. However, if the reduction in production spending continues, some of the recent investment in studio space may be turned into warehousing.

Yes, but in "Story" it refers to an interviewer asking Lee Marvin how awful it must be playing bad people. To which Marvin replied with a smile, "Me? I don't play bad people. I play people struggling to get through their day, doing the best they can with what life's given them. Other's may think they're bad, but no, I never play bad people."

The other operational matter is that the zoom works in the opposite direction to other lenses. You quickly get used to it, but something to be aware of when switching zooms. Breathing was an issue with 16mm zooms of the period, Cooke promoted the lack of breathing of the Varokinetal in it's advertising.

You'd be shooting double system sound, with the audio recorder recording timecode that is "locked" to the timecode displayed on the clapperboard. This allows the editor to sync up the pictures and audio, professional NLEs have a function that allows you to sync using timecode.

Although, you'd notice the difference when projected on a cinema screen.

I think they may be for a back projection system used in schools etc.

You could try dusk for night, assuming there are only a few shots facing that direction.

The main difference is the grain size, which is due to the smaller negative size on the Super16. The negative stocks are much the same for Super 35 and Super 16. The option for slower stocks for Super 16 is limited to Vision 3 50D 7203 daylight. So limited in uses. As previously mentioned, over exposing will improve the situation. The lenses can affect the look, especially if using older ones on the Super 16, Today, so much can be done in post during the digital grading, so it's pretty pointless flashing the neg. Depth of field is different for the same stop, less on Super 35 when using the same angle of view. Unless you're getting 35mm stock for free (or at a reduced price) with cut-price cameras, it's easier and cheaper to shoot on the Super 16, since everything is smaller, if that's the look you're after.

Heaters like that are now fashionable, and are sold to interior designers. However, they'd probably change the colour.

Regarding how to light before LEDs, there were small low voltage tungsten bulbs, of various shapes that could be used behind diffusion, also small fluorescent lamps.

Just checking, the helmets in 2001 don't have internal lights, that's something that came much later in films. This article has stills in which the lighting on the face comes from external sources. https://hansbkahl.wordpress.com/shedding-light-on-our-humanity-the-lighting-of-2001-a-space-odyssey-2/

One problem is that gas masks don't have lights in them. Nor do space helmets, but it has become an accepted convention in movies, since the audience assumes they do. 2001 makes good use of the reflections in the face mask..