On double-8 we had 13 mm lenses, and 5.5 mm was considered wide angle. Movie cameras often had rather narrow FOV. Even though, for the audience, the screen was enormous in cinemas, and we looked at those images at a much wider angle of view than they were taken.
So there is not one, but many answers to the FOV quandary. It depends on the size of the screen where the movie is played and its distance from the audience. If the movie is viewed on a small TV screen, a narrow angle is appropriate, but if you view it on a cinema screen from the middle rows, a wider angle lens will give a more natural perspective.
The direct comparison between 50 mm for the miniature camera and 30 mm for the super 35 is reasonable. The half frame Olympus had a frame size of just a little less than 18x24 mm, which was its nominal frame size, that corresponds to the normal 35 mm frame. Its *normal* lens was 38 mm.
So you'll have to consider the audience situation in order to calculate what FOV would give a natural perspective. If objects that are registered take up the same angle of vision for the final viewer of the work, the perspective is correct. It depends on the size of the projected image and the distance to the viewer.