Until recently, big cinema was a domain of the Super35 format, but in the meantime it seems that the new standard full format (i.e. approx. 36mm sensor width) is establishing itself. And those who want to make really big, i.e. gigantic, cinema go beyond that today and use sensor widths that were previously known in photography as medium format.
Cameras for such oversized formats as the Arri Alexa 65 or the RED Monstro 8K VV easily cost four-figure daily rents ready to shoot. But even more expensive can be the required lenses, which also have to cover a larger image circle.
With Fuji, a camera manufacturer is now in the starting blocks who wants to launch a medium format camera for 5,000 euros this year, which can use the entire medium format sensor for (FullHD) video recording. But the optics for this are not exactly a bargain either and also suffer from the fact that for medium format optics there are hardly any really fast primes with low initial apertures.
If it can be a bit trashier anyway, Jonas Rask's linked blog post could inspire the imagination of some indie filmmakers. Because here the photographer tests numerous Minolta Rokkor glasses on a Fuji GFX camera with a simple adapter. And look at this: Many optics almost completely cover the image circle of the sensor.
Thereby, the quality decreases a little to the edge depending on the model and the vignetting remains almost always visible in border areas. But at the latest if you work with a cinemascope cropping you might suddenly learn to love the slight edge defects as character traits. Especially since the price for such optics is also a price to fall in love with...