Super 35mm is a process I'd never use, because there's something almost karmically wrong with throwing away such a large part of the negative. I actually did my thesis about the differences between Super 35 and CinemaScope, because it left me no peace that
James Cameron always uses Super 35. I found out, of course, that in purely mathematical terms, Super 35 is a lot better than 'Scope, but that's the great thing - video might at some point be mathematically much better than film, but film will still be more beautiful. It's not about objectivity, it's about art, and with anamorphic, you're really using the magic of cinema.