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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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This is turning into quite an interesting rabbit hole, good call starting this thread : ) Well, at least we have one thing in common this time ; ) the GX85 is in my arsenal too! ... That also makes the format issue particularly relevant. Since the GX85 records video in 16:9 rather than genuine 4:3 open gate, a 1.55x adapter would produce a rather extreme 2.75:1 image. The more practical 2.07:1 combination would require an open-gate body such as the GH7. A potentially more practical option might also be one of the smartphone anamorphics with a standard 37mm rear mount, such as the Beastgrip 1.33x or 1.55x MK2. These could be attached to lenses such as the Panasonic 14mm or TTArtisan 17mm with ordinary step rings, making mounting and alignment considerably simpler than with the 17mm-threaded Neewer. -
Nobody said they are equally important. Not even close : ) What has emerged from several contributions here, including yours, is simply that their practical value depends on the shot, purpose and workflow. Extra DR matters in both controlled and uncontrolled high-contrast scenes, perhaps even more so in the latter. Fair enough. In other cases, reach, reframing, stabilisation, VFX or high-resolution frame grabs may matter too. Those are real-world uses as well. So saying that none of this relates to anything anyone here actually does is rather sweeping, especially when a third member had just contributed a balanced view, explaining several practical uses for higher-resolution capture while also acknowledging its limits. Nor is this only about one camera. More will come, including the Pocket 4 Pro with those extra stops, and naturally we will discuss where such advances matter and where their limits begin. This is a camera forum : ) It is the right place for disagreement about cameras, specs, footage and real-world use. Not for theatrics, personal point-scoring, showing off or ego contests. “More useful for one workflow” is not the same as “practically irrelevant to everyone else”. Either way, life goes on, and so does this thread. Your contribution has been useful, as have those of others. We do not need to agree. You are one of my fav contributors here, and clearly one of many people’s favourites too. That gives your words more weight, but also more responsibility. Being a valuable contributor does not give any of us the right to be unpleasant to others. And that last reply was unpleasant. And unbalanced. Prima donna behaviour is no more attractive on a forum than on a professional set. In my work, I simply cross prima donnas off the list. I have neither the time nor the patience for them. That is worth remembering for all of us. You, me, everyone. And there is no drama here. This is only a disagreement about cameras. You were the one who announced you were “done”, as though an ordinary disagreement had become rather more serious than it really is. Perhaps you are simply in a bad mood today. It happens to all of us. But other people should not have to pick up the bill for it : ) No hard feelings anyway :- )
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Vintage anamorphic adapters are optically imperfect in very pleasing ways, but are large, expensive, difficult to find and setup, and can be slow to use (double focusing etc). Modern smartphone anamorphic adapters are optically imperfect too, but are small, cheap, easy to find and setup, and designed for AF cameras so should be incredibly fast and easy to use. Of course, the first question is about coverage, and this might surprise you, but modern smartphone sensors are approaching MFT sensor size. GX85 with 14mm F2.5 lens (no adapter) - I took a photo so this is open-gate MFT: GX85 with 14mm F2.5 lens and Neewer 1.55x anamorphic adapter in-front of the lens (de-squeezed): Full-sensor coverage and no vignetting visible. Can it cover S35? Who knows! Looking at this image it's much blurrier on the bottom than the top, but I was just holding the adapter in place so maybe I didn't have it exactly centred vertically, but it should give an idea of the image quality. It's obviously lens-dependent though, as this is the GX85 with the TTartisans 17mm F1.4 in 16:9 movie mode (no open gate)... Coverage.... isn't ideal! However, with the 2x digital zoom on the GX85 and de-squeezed you get this: This equates to about 44mm FF equivalent, and reminds me of some of the more funky vintage anamorphics. Perhaps the most impressive thing is the form factor. This is a 1.55x anamorphic setup probably more pocketable than a BMPCC4K, and that's literally got "pocket" in the name! Those just show the adapter leaning against the lens, as I am yet to work out how to mount it properly. The challenge is that this adapter has a 17mm rear thread which is smaller than any step-down ring I can find, so I'll probably have to go DIY to mount it. People have suggested I drill a hole in a metal lens cap, or get the smallest step-down ring I can find and glue a washer to it where the inner diameter of the washer matches the thread size. I'll have to experiment, but there are options. That whole rig weighs less than my Sirui 1.25x anamorphic adapter on its own.. 627g vs 744g!! It's early days for this idea, but the coverage surprised me and I think makes it a real option for shooting actual projects. The fact that the 14mm looks so clean and the 17mm so dirty means that buying one of these probably gives you as many looks as you have lenses, so potentially quite a few. I'm yet to play with how it looks at different apertures and focus distances, but they'll probably give some variety as well. The above were shot at F5.6 or so. If you stretch the 16:9 files from the GX85 you get 2.75:1 so super widescreen and you can crop the sides if you wanted to. On something like the GH7 with a 4:3 open-gate it would be almost exactly 2:1, a very useful format. It's not just MFT either. I've heard quite a number of instances where people want to go for an older look and will use a S35 cinema camera (like a RED) in a lower resolution mode and combine that with some vintage optics to get the look they want, or used the Alexa S16 mode and S16 lenses. Lots of cool stuff has been shot like that and when you have to de-squeeze in post then cropping a bit takes very little extra time on real projects. In a way these are perfect for low-budget anamorphic experimentation if you're interested in optics with some character and getting a range of looks from just one purchase. -
Mike Vogel’s riding high with this new series : ) Good to see him doing so well — a true pioneer and one of the indie AI filmmakers producing some of the most interesting work across YouTube and related digital platforms today. It also proves that solid project development remains fundamental to filmmaking, whether old-school or cutting-edge: https://www.linkedin.com/posts/pixverse_a-luxury-mars-resort-no-return-shuttle-activity-7469342407965241344-G5Of
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This is a forum for people that shoot with budget hybrid cameras. None of the above points relate to what anyone here is actually doing with their work, or whoever they're showing it to. Completely contrary to that, Dynamic Range is something I struggle with in real-world shooting for a large percentage of the shots I take. The idea that they're somehow equally important is beyond imagination. I'm done. Feel free to continue the discussion about pocketable 8K gimbal cameras, 17K sensors, 150MP doorbells, 5000fps smartphones, or whatever theoretically true but practically irrelevant things you want.
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