Easy solution. Take a vote then approach IATSE to organize your production.
For all of the twentieth century, there was no such thing as "full frame" in a mainstream cinema camera...VistaVision being a possible exception. There was Imax and 65mm (not70) for some roadshow spectaculars, but Mitchell, Bell&Howell, Panavision, Arriflex, Éclair, and Movicam were all 35mm film running vertically thru the gate, not horizontally as in a film still camera. Pretty much the approximate frame size as APS-C. Of course all of those manufacturers also made 16mm cameras.
I was a First Assistant (focus puller) for the first 25 years of my IA career, and follow focus was done, in those days, with a tape measure and the engraving on the lens...try that with your "cinematic" (buzz word to end all buzz words) full-frame (lack of) depth of field. Yet, the movies actually were cinematic, by definition.
These people are idiots.
Way to go, NFS, keep dumbing down the craft of Cinematography.
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So, just to inject a bit of reality, here is the current IATSE local 600 International Cinematographers Guild union scale rate card:
Features & half-hour film episodic/-hour episodic
DP studio 824.96/801.36 location 1057.60/1026.74
Operator 510.32/495.44 653.85/634.78
1AC/Tech 372.80/431.76 477.65/553.19
2AC 343.84/333.84 440.55/427.73
All rates are minimum call 8 hour day studio; 9.5 hour day distant location.
Nothing prevents a member from negotiating HIGHER rates ADDITIONAL kit rental.
(I 'm a member of ICG, SOC, SMPTE & NATAS.)