ANAMORPHIC

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    • Thanx for the great tips. Unfortunately i am not able to go for long focal lengths, due to the size of my room. It's only 50m2   Thanx, that's a valuable lesson to me :-) How do you mean this exactly? Some people advice me to film flat and do the shadows and highlight in post. And others advice me to do the lighting in the film room. I am quite confused about this and i don't know which would be best? Thanx in front greetz Lenny
    • My daughter wanted to make a movie, so we made this. I don't really expect anyone to watch a video this long, but it's really for the family anyway. Shot on the Canon EOS M with Magic Lantern 3x bitrate and the Canon FD 28mm 2.8 and the RMC Tokina 17mm 3.5
      Graded with FilmConvert, except the "Lobster Claw" scene which was the off the card color (Ive Lotus Film PS) with grain added.
    • It's been rumored since at least 2015, what are they waiting for, Netflix 4K approval?   Seriously, hopefully they'll add some serious competition for AF on cinema level cameras (Canon has DPAF on the C700). The F65 had (has) alias-free 4K and color that can compete with ARRI, add FF and AF and it will be very competitive (especially with an E-mount option).
    • True, though most of the time I find the cropping leeway quite sufficient. The last shot in my reel below was shot on a pistol gimbal with the 12mm and pinches in to a medium angle during the shot.  
    • I included the manufacturing operations in the list.  The design costs are essentially the same, as the only extra cost is creating another Autocad file and adding two to eight threaded holes -- the front tube to the EF lenses has to be designed, regardless.     Again, your list is fine for those who don't want to stray outside of the box.  However, creative pros will often want more versatility than that list (not to mention great Cine lenses which only come in PL.     The short-sighted intentions of Panasonic's management/marketing/sales people have no bearing on what they should have done.  Furthermore, outside speculation on some company's intentions is not exceptionally relevant.     Well, not too typical shooters are putting old Schneider cinema lenses on Alexas either, but they can if they want to!   I was helping someone on a commercial a few months ago, and the DP had just hit the big time.  She is already sitting in on panel discussions with ASC and BSC members.  She was using old Crystal Express lenses on an Alexa, and they were distinctively beautiful.   Shooters on that level usually seek alternatives to typical run-of-the-mill EF glass, as they are usually more sensitive to the subtleties of lenses' looks and effects.     Then neither is an EF mount.  However, cinema lens mounts don't need to be as rugged as PL or PV -- we have lens support for that.   Furthermore, Panasonic didn't have to commit to a M4/3 mount.  They could have just made a shallow interchangeable lens plate, as I have described.     The EF mount offers only a small fraction of the possibilities available with a Micro 4/3 mount, an E-mount (there are ways to make this work) or an EF-M mount.     That is a risky adapter as there are plenty of lenses that won't into it.   On the other hand, a simple PL adapter for M4/3 will take almost every PL lens.  In addition, some M4/3-to-PL adapters also allow TILT/SWING movement!: http://www.ebay.com/itm/TILT-adapter-ARRI-Red-One-Arriflex-PL-lens-for-Micro-Four-Thirds-4-3-cameras-/322240061177 http://www.ebay.com/itm/ARAX-TILT-adapter-ARRI-PL-lens-MICRO-4-3-Camera-Camcorder-pl-tilt-micro-adapter-/271523819029   Tilt/swing adapters are impossible with the EF mount and any full-frame or smaller lens.     FTFY:  There are countless lenses and adapters that won't work with an EF mount!     No.  Regardless of speculation for whom the EVA1 is designed, a lot of the top cinematographers use PL/PV glass and also seek out all kinds of unusual optics and adapters (probably not Veydras) that will give them an edge.   Panasonic could have easily accommodated such high-end shooters (and even some of the lowly shooters who know better) while also catering to the typical EF people.     Actually, I think that every cinematography camera should have either a shallow mount or an interchangeable lens plate.  We're experienced and creative pros -- we need versatility, not protection from FUD.    
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