Thanks a lot everyone for those very informative replies. I kinda like the idea behind Charlone's approach (WS on 35, CU and MS on 16), but I will definitely test a few 100' reels to see how pushing one and two stops would feel along 16mm that's been exposed "just right".
Hi there, I am currently working on a feature film that so far has been shot in the Super 16 format with Vision3 250D for daylight interior scenes and Vision2 500T night interior scenes. We haven't done any outside work yet but will use Vision3 50D I was wondering if anyone had ever attempted to throw in some Vision3 500T 35mm shots for night interior scenes. I have about four scenes in this fairly low-lit Soviet-themed bar and thought that maybe 35mm 500T in shadow areas could be closer to 16mm 250D's grain size. It's just out of curiosity!