Oh, you’re right. I remember the bug!
First: did you change your illumination source between captures?
Yes and no. It’s the same lamp and diffusing sheet, but the lamp was further away and not semi-encased as in the projector. But that’s interesting. I thought you could see the structures less because I didn’t get the focus right.
The sprocket hole should have exposure values of 100% in the raw file, nothing less.
Makes sense… yup. I’m used to all the little helpers of the DSLR and am only halfway finished with adding a little histogram feature to my script. I should probably try out one of the more sophisticated scripts linked in these forums, but I like tinkering first 
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the digital gain stays at
1.0. You do not want any other value.
I set gain to 1.0 and exposure time to a fixed value, but no matter what I set, digital gain is something above 1.0. How do I know which exposure values are native to the Pi Camera?
Please note that the .dng-files the HQ/Schneider combo would produce can be read directly into DaVinci Resolve.
It’s the same workflow with the Canon . MLV splits into individual dng-files which I can use directly. Similarly, I’d use Adobe DNG converter on the Pi files, just to reduce their footprint (lossless compression).
How do you guys manage those big files, anyway? One 30 Minute film would have 800GB of data (or around 500 if run through Adobe).
This is not a discovery, but the result of optical calculations!
Distance lens (lens optical center) image 50*1.0858+ 50 = 104.29
Thanks for this immensely useful calculation! I’ve been trying to figure this out on my own and couldn’t find anything succint enough for my monkey brain.
Small edit: I’ve been trying to apply this formula to other setups, but can’t relate some of the values. Is it both times the lenses focal length?