Producer/Director at Hyperdriven Pictures and founder of the Sydney Short Film School.
Well, at the risk of sound a bit revolutionary, the best way to get 16mm footage, is to shoot on a 16mm camera!
For your consideration - the Krasnagorsk-3 - a vintage Russian 16mm clockwork movie camera that shoots on 16mm film and uses M42 lenses.
By the way, the native image aspect ratio of 16mm film is 16:9, so you could, in theory, shoot on any 16:9 camera and play with the colours. Don't forget, even the Blackmagic Pocket Cinema Camera has a 16mm-size sensor, and so would not be a bad place to start, but who can resist an old Russian clockwork camera and a few rolls of Kodak film to get you motivated?!
LED lights having a single LED - like a Cree flash light - will always cause the banding or rippling effect. It would seem that these LEDs are pulsed at some odd frequency that doesn't help filmmakers. Use a LED light source having more than one LED, or use multiple LED lights to fix this problem in future.
Did you guys not hear that Andrew Lesnie (Lord of the Rings, King Kong, The Hobbit, et al) also passed away in 2015?
Great idea! But aren't those panels a bit big to have come from laptops?
I have a friend with a C300 and he often has his Tokina 11-16mm f2.8 attached. His stuff is purely for TV broadcast too.
It convinced me to get one for my 60D and it is SO good I snapped up a brand new Tokina 50-135mm f2.8 which is a beautiful lens.
In my opinion, Tokina is a highly underrated lens maker. I'm yet to meet a fellow Tokina glass owner that didn't think the same.
Also, you should consider the Sigma 18-35mm f1.8. I don't own one - yet - but again, have friends that do and the images are superb.
Hope that helps!
The problem with big digital effects movies is that they will always struggle to look cinematic. This will improve over time, but that's why the argument here over Mad Max v. Avengers.