Originally posted by TaoMaas I wonder if using film-era lenses might help? Color consistency used to be a bigger deal back then.
Oh, yes, indeedy,...
I've put a set of SMC primes together, K, M and A series, and the colour consistency is easily as good as many modern lens sets, with the advantages of long focus throws and small physical size, along with what IMHO is more then enough detail reproduction for HD and 4K production.
This set has been used in front of Pentax cameras, BMD Pocket and 2.5K cinema cameras, Panasonic GH-4, Sony A7s and Aja Cion cameras, the latter pair being at both HD and at 4K.
The only disadvantages I've found, are in the focus breathing, which is a little excessive compared to pure cinema lenses, but similar to current Samyang ( branded as Rokinon in the US) 'cine primes', and a lack of support from companies like Metabones for Focal Reducer adapters.
Here's the ungraded teaser trailer for a short film shot using the SMC-A 35mm f2 (
https://www.pentaxforums.com/lensreviews/SMC-Pentax-A-35mm-F2-Lens.html )
And there's this goof off camera-test video,....
Both of these were shot using the Aja Cion camera, with only available lighting, the latter with no lighting modification at all.
Both shot at EI 320 (not ISO,..)
The first of those two used the camera's 'Expanded1' Gamma mode, and 'Unity' White Balance, the second using 'Normal' and 5600K white Balance.
Unity gives an unmodified output from the sensor with no colour modification, harder to work with in post, but giving better dynamic range.
The opening shot of the second video used a 400mm 'Formula 5' lens on a 2x teleconvertor, everything else, the 35mm.