Sigma Art vs. Cooke Primes: When do adapted lenses become a false economy?

Hey everyone,

I'm Troy, a grip, and I've got a question that's been rattling around my brain about lens choices. I'm usually wrangling a SkyPanel S60-C or a couple of Forza 720Bs, but I'm trying to better understand the decisions DPs make upstream of me.

We often shoot with an ALEXA Mini or sometimes a VENICE 2, and I've seen DPs bringing their own Sigma Art lenses, adapted, because they own them. For smaller budget stuff, it makes total sense, saves a ton on rentals compared to a set of Cooke primes. We've used them on a few indie narrative projects, and they look pretty good on screen.

But I've also heard whispers about certain 'looks' being harder to achieve, or maybe more time spent in post correcting things like breathing or chromatic aberration that a purpose-built cinema prime just handles. When does that cost-saving upfront with adapted photo lenses like the Sigma Arts actually turn into a false economy because of the extra time, effort, or limitations on set or in post-production?