which has been discussed here on the forum as well… 
Which brings me to your example captures cmp. only 01 Canon vs 03 HQ (both without too much processing).
First: did you change your illumination source between captures? In the 01 Canon capture you can see faint image structures in the sky (what you call “craters”). These are actually structures caused by the mold developing on these old Agfachrome film stock. These structures are no longer visible with the 03 HQ video. If you would used an integrating sphere (=completely diffuse illumination), these structures should not be visible at all.
Secondly, your 03 HQ captures are certainly underexposed. You can see this on the sprocket hole intensities, were the RGB values are 252/254/254. The sprocket hole should have exposure values of 100% in the raw file, nothing less. In fact, every film material reduces light intensity. So the brightest spot you will encounter in your scan will be a featureless highlight. And it will be captured faithfully if your raw exposure maps this image intensity to 100%. Of course, the sprocket hole will burn out, but who cares?
From my experience, this gives you an additional exposure increase of 5-10%. And increasing your exposure time will reduce the noiselevel of your captures.
If I recap my approach correctly, I first set the gain to 1.0. I never use auto-exposure, but I set the exposure time to a fixed value. Than, I increase my light source intensity up to the point where either the sprocket hole is imagined at 100% raw intensity (when I am lazy, which is probably the standard) or select an image area burned out in the source image, and set its raw image intensity to something close to 98-99% (which I only do if I capture single 15m rolls, which I barely do). That should give you brighter images than the ones in your example images.
If you do not have an adjustable illumination source, you can adjust the image intensities by simply changing your exposure time appropriately. With digital sensors, always expose to the highlights, nothing else. And always check that - after waiting a few frames - the digital gain stays at 1.0. You do not want any other value.
Please note that the .dng-files the HQ/Schneider combo would produce can be read directly into DaVinci Resolve. You have all the important options available in the Raw module at DaVinci’s Color Page, including shadow and highlight, as well as highlight recovery (check this one). Also, you can change, if that fits into your workflow, color temperature and tint. Of course, exposure correction is also available. Well, you will need a very fast disk for that approach to be fast enough to be fun to work with. However, proxies can save your day here.