Do check requirements of any festivals you plan to submit to, as well as DCP specs.
Many may be fine with whatever format, but some may be fussy.
You may find capturing in 16:9 (but framing for 2.35:1) and then editing for 2.35:1 a safer option, so, if necessary, you can re-edit for 16:9 later down the line if required (may involve re-doing some “pan and scan”, but with the vertical alignment). Unless of course you’re shooting anamorphic, then you can’t do this and will need to crop your master heavily to create a 16:9 version.
Also consider that, if theatrical release is intended, it’s unlikely to be 16:9, but rather DCI 4K or DCI 2K (1.89). So, if you can shoot in one of those formats instead of UHD/HD, then do! The few pixels of extra width will help you anyway if you’re going for a wider look, and will mean slightly less cropping of the height is needed (you’ll need to work out the correct crop to cut a 2.35:1 portion out of 4096x2160 or 2048x1080).
Agree that creative intent is a part of choosing what to do here.
I shot plenty of docs and doc style content in 2.35:1, here's a few examples.
Ultimately I'd say its down to personal choice and what's best for the project. I picked 2.35:1 in these examples as it was my preference and suited the style of both pieces.
Hope that helps...!
I updated my FX9 firmware to version 2.0, and it appears to have broken color peaking. Normal peaking works, but color, b&w, etc. doesn't work. I primarily work on verite stuff, so I rely pretty heavily on color peaking. Anyone else have this issue?
Are you planning on distributing it online or trying to sell it to a broadcaster? I've shot projects in both 2.35:1 and 16:9 and even 5:1. All of them have positive and negatives. 2.35:1 or even shooting anamorphic can be great for some projects or shots, but It can be terrible for others.