Hey Seinfan,
Trying to emulate a particular aesthetic is not only dependent on the equipment you use, but also the people, the places, the things, etc. We're not only talking about the finest 35mm film popped into a 6 figure, quality calibrated camera system with the finest optics ever known to mortal beings. We’re talking about disciplined, yet creative cinematography, sets and/or locations that have been distinctively scouted and/or built to meet precise framing specifications for film production, and digital intermediate post production processes that make films so vivid and full of life. These are all integral elements to achieving a particular look.
If you shoot film, you might want to consider shooting super 16mm, then go through the DI process and transfer to 35mm. Matthew Libatique highly recommends this specific format and finishing process if 35mm isn’t accessible.
Now, if you should go digital, you absolutely must go HD, with 35mm prime lens adapters provided by a company like P+S Technic. If you go standard DV, the best results you’ll get will look similar to what was accomplished in 28 Days Later. Anthony Dodd Mantle, a very talented DP worked on that one, using an Arri PL mount 35 mm prime lens adapter for a Canon XL1s PAL, and that’s about as good as it got for DV. Also keeping in mind, they used DI color grading/finishing, and transfers to film, so the “magic touch” is always present no matter if you choose digital or film, you’ll be moving from one format to the other.
OH!...and if you just want a standard DV camera that produces film-like images directly out of the box without any add-ons, I suggest looking at the Panasonic AG-DVX100A; quite possibly the best bang for your buck.
I’d like to see how it comes out, keep us all posted…