It's great you posted, but you didn't comment on why your link is the most important one in the thread here.

What you posted a link by a current working cinematographer Steve Yedlin, study on the effect of capture resolution on output quality.

He filmed the same scene on cameras from 2k all the way to 13k 15perf IMAX. It was the same shot, in motion on a large variety of formats all for a 4k theatrical finish.

He goes though and with actual footage disproves many of the arguments that are made about 4k or higher acquisition producing better results for a 4k master.

Many people making claims have never thoroughly tested the actual theatrical differences or are evaluating still images only.

I have been really surprised the NFS hasn't made their own article on the Yedlin tests. He is an ASC member cinematographer who is shooting the next Starwars film, opening up his own research and testing to the wider community. Even more so it has the buzzworthy click bait conclusion because it go against 'common knowledge' that more #k's on acquisition matter for the final image.

It all depends on how compressed your media is. if it's very compressed you can use a slower drive

On consumer drives they typically advertise the fastest they can deliver data, as opposed as to how fast they can deliver a sustained transfer. Your best bet is to buy the fastest you can get and hope as it fills up it stays fast enough.

I am not sure if your list is what you expect your kit to be/ or what you are hoping to get.

You put down a monitor on your list, but I don't see mention of a top handle/ shoulder mount/sticks/ stabilizer. It doesn't seem like an external monitor will be a help to you in that way.

For solo operation the native e-mount glass works much better with the autofocus. Any of the prime lenses and anything without effective AF is going to slow you down. I haven't been satisfied with the metabones adapter and an EF lens when compared to a native e-mount lens.

I have the Tilta cage with no handle and it works well and adds nice heft for hand holding the camera.

If you go with the Sony XLR-K2m XLR adapter be careful. The cage you get needs to be compatible. You can go with the K1 adapter and a cage, but it requires using a cage,unlike the k2 that mounts to the hotshoe.

For the H6 you can get a belt clip with a 1/4 -20 screw and it makes things work MUCH better than trying to bag it while operating , for me anyway.

Add headphones to your kit.

For on camera audio the little rode shotgun mics are nice and I recommend a scratch track. With the Zoom you can always add a regular shotgun to the rig without much fuss.

As a student this seems like a decent project.
They used a ton of effects in this project. While it doesn't really look like film it does have a nice look.

So the look they created has a few parts to it.
1) an overall color tone- warm highlights are often associated with film and are a quick and easy way to hit a 'look' any color program can do this. They look to have reduced saturation and contrast as well

2) Flared highlights- you can do these in a color program by grabbing a highlight, blurring it than increasing it's brightness. You can also experiment by adding lens flares, After effects and Resolve are places to try those effects

3) Film dust and scratches- I quickly found a tutorial that will give you some of what was done https://www.youtube.com/watch?v=USqw_JItvBg. you can use that for a spring board on how make it your own

4) film damage- Not sure on this one.https://www.youtube.com/watch?v=2JsSr4eHzLY
They have a lot of effects that create color channel damage.

It's a really good thing as a student to see what other people have done and try to copy . It gives you skills so when you have your own unique vision that you can achieve it.

Good luck. When you get something up, post a link here.

Just as a note - Take a trip to see Dunkirk on 70mm to get an idea of a film on film. The look created here is neat, but not really what film looks like.

Thanks for sharing. I know that projectors have a really big effect on how long prints last. I have some loops I have only been able to run 50 -100 times before they become to scratched to be usable.

The standards haven't changed in decades.

The only thing that I could think may have some effect that are better quality splices, but that would typically be on the projection end of the chain.

Do you know any other film projectionists? Are they seeing the same thing? It's nice to know that all the work put into making those prints is looking good after many showings.

As long as you are talking about prints on 2383, no. The base chemicals and formulation are supposed to be the same.The printing process can't really do much on that side.

Someone from Kodak should chime in on if they had a process improvement.

As well, did someone service your projector? A bad projector eats prints and a good one will do what you are experiencing.

How do the prints look after 1300 runs?