If you're a cinematographer shooting a big-budget motion picture on film, you need to worry about the color cast of your lenses. Since the same scene will be shot with several different lenses from different angles, and the result edited together to create the scene, you can't have color shifts between focal lengths in your kit. So you spend +$100K on a set of matched Cooke or whatever lenses. But even most of today's 'cinematographers' shoot digital with their camera set on auto-white balance, and could just as well shoot their movie with a 1980s aftermarket 35mm zoom lens for all the concern today's movie-goers show about cinematography. If all you've ever seen on the big screen is garbage, you're not likely to be a discerning viewer.

For a large format photographer today to worry about color cast in their lenses would imply that s/he has access to a professional lab that can give perfectly reproducible results day after day, year after year, and furthermore this hypothetical lf photographer has an inexhaustible supply of freshly-made lf film from a firm with perfect quality control. To my knowledge, neither condition can be met today. Nor are there any customers left who demand perfect and reproducible color rendition from large format film images. So it's a bit of an academic exercise at this point.