Yea come on man your a cinematographer, over exposure head room is pretty significant. The Alexa has 7.5 up at 800 I am doubtful that helium can do that too. Red and sony has always been around 6 up. That extra 1.5 stops allows you to have a source in the frame that does not blow out but you can key talent within at a reasonable distance, thats extremely useful stylistically. You don't need to cary the pratical with other sources. You can't do that on other cameras. Thats a big deal.
I would advise against totas, they are flood lights, which will be difficult to control.. The will send light in 180 degrees, If you bounce a lot it can make some sense but, a used mole richardson fresnel will be a more versatile light. It'll be more expensive but less headaches. If you do go with the omni, you will need black wrap with you at all times.
Test seems weird somethings off
Palve don't think in such a black and white way. There are situations where a cine lens will produce better image quality and there are scenerios where they won't. You have to understand the difference characteristics of lenses to see where it matters and where it doesn't. How does the lens flare, whats the distortion, is it sharp edge to edge, what happens to the color when the aperture changes, what does the bokeh look like, what aberations happen wide open, color cast, is the color reproduction consistent between the whole line of primes, how about chromatic aberation during high contrast. Generalizations about photo cine won't really be useful. Talking about the actual characteristics of specific lenses is helpful.
You gotta post a link all the stuff I saw for filmic pro iphone 7 plus was pretty bad
If it is undergrad, this issue is that most kids are too young at 18 to learn filmmaking from a theoretical narrative perspective. They haven't lived life yet, how could they possibly understand and create honest stories about adults life experiences. My advice would be do not be feel pressured to send her to school out of high school especially now that school is sooo expensive. Let her work on sets in New York or LA for a couple years. Getting straight into the industry young is probably the best thing she can do.
I would imagine that very few NYU undergrads get serious opportunities out of school, just frankly because they have no set experience. Most start in the same spot as people without degrees: PAing til they save enough to direct. Unless they have a viral film festival success its gonna be tricky without nepotism or a network.
If she works for 3 years as a production assistant on real sets she might be better off with no debt, and have some connections in the industry when she moves to directing, she might not need film school or if she still wants to go she'll make better films while shes there.
Its really just how much you want to roll the dice, on opportunities out of film school. At least at good film schools they tell all the students day one that only one or two of you will be directors, the rest will do something else in the industry. Thats probably a 1/20 chance for 300,000. And actually thats for grad school not even undergrad.
Also I'm seeing that you mentioned guidance, definitely don't let her go is she doesn't know how to make a movie already. Do not go to film school to learn how to make a movie. She can learn everything as a PA for free or use the internet. You have to know how to make a movie before you go otherwise her films will be bad, everyones first couple films are bad, literally everyones, you don't wanna spend big bucks on that. The only two reasons to go are finding collaborators, and sharpening pre-existing skills. It will be a waste of time if she doesn't already know set etiquette, set procedure, and time management techniques for shooting schedules. A big mistake mistake almost every filmmaker learns and some point is that creative exploration can easily be destroyed by bad time management skills on set. A poorly planned film will almost never be a good movie. Every young filmmaker is so eager to jump into a creative endevor that they underestimate the pre-production planning that really goes into it. Everybody makes this mistake, please trust that. Do not learn that lesson on a 15,000-30,000 thesis film! What ever you do learn that lesson for free. Many people don't and its tough to watch.