My tip is:
Do it your way. Don't feel forced to adhere to standards if it goes against the message you want to convey in your film. If everyone is using modern lenses on their DSLR's but you feel vintage lenses would make it look the way your story needs, go ahead. If it asks for a rough look with lots of contrast, don't pay attention for everyone who says you should shoot flat. If you believe you should get most of the look on-camera, like having real flares, lighting it properly and reducing most of the post processing, let all those naysayers talk as much as they want of the big post production workflows. If the film is yours, it is ultimately your call....

I'd not post much to Facebook because right now the way they encode video is tremendously awkward and messes up the whole color rendition, etc. Why should I spoil a work that took hours to get done? Unless that dramatically changes, no way I'm getting near it.

Kinda remembers me the way Novacut works, main timeline and a cutting area for you to assemble and make different versions, compare, etc before moving them to the master cut.

I use vintage manual primes, which often have focus distances marked on the ring, I make the movement some 2-3 times to test and create muscle memory before, then I focus using the focus peaking feature on Magic Lantern.

Now he needs to do AC, DIT, VFX Supervisor, whole crew. I demand it. I need this to properly explain studio structure to friends.

My own advice:
Go vintage in equipment, you don't have to use the latest stuff and expensive modern cine lenses when you can easily use M42 primes on almost any DSLR....
And build your rigs, be it shoulder rig, stabilizer, almost everything that you need, you can build from hardware store materials....