Better to overdeliver. It can handle 8K today and therefore 4K twice as fast and smooth. Good job, guys.
Holy Shit Bateman.
Shame Kodak would never put its extensive 100+ years of knowledge, experience and expertise with film emulsions, color sciences and filmic curves to good use in an inevitable digital replacement. The last nail in the coffin was giving up and selling their digital sensor division to Truesense/OnSemi. They could actually pay respect to Kodak's glorious photochemical legacy by creating dedicated Film LUTs, carefully tweaked exclusively for homegrown Kodak digital cinema sensor. With that you'll get 99% an effect of newer, older and long discontinued motion and still film stocks just switching through presets and color profiles. Instead we have 3rd-parties more or less successfully doing that work for them, projects like Filmconvert, Visioncolor, Koji, VSCO, etc.
Unfortunately, Kodak will be completely gone after processing the very final reel for the last batch of Hollywoods analog film die-hards like Nolan or Tarantino (and many more DPs, of course). There's no argument it's now on life support, therefore with end of celluloid all the amazing legacy of Kodak will be lost in time like chemical tears in acid rain.
>how exteriors, human faces and slow motion are rendered. Digital can't do it the same way. Yet.
Maybe low-end digital. There's mysterious machines called Red Dragon and Arri Alexa out there available for rent. You should try it out. Not a S16 cameras though, but I think Dragon will give you about ~3K something with 16mm lenses.
If you shoot S35, let alone S16 you have to embrace the film texture. Otherwise, what's the point? Shoot Alexa and other digital cinema camera if you want clean.
35mm-sized sensor like this with bigger photosites, wider latitude and amazing low light abilities? Sing me in, Freddie.