eris

It's one thing to put together a good anamorphic rig, but you'll eventually have to understand widescreen composition.  David Boardwell's video is a fantastic introduction to widescreen technologies and composition.
 
 

Honestly I think some people need to either cough up more cash or quit whining so much and learn the benefits of patience.  VLOG will come out or they wouldn't be beta testing it now with these guys.  Panasonic knows how important it is.  If they didn't they will know it when they look at the Ursa Mini.  The price difference between an entry-level Mini and introductory price GH4 is so low that they have to be worried.
If you think that VLOG is mandatory you either have the wrong camera for the job or you haven't learned how to expose properly.   The most impressive VLOG demo in that video is the side to side comparison outdoor with a bright background sky that's blown out.  Go get yourself an ND grad.  Jesus.   You have to learn how to work within your limitations no matter what camera you bought.
I bought a GH4 for personal projects because for the most part it's easy to use, has 4k and looks pretty damn good out of the box.   For my high-end projects I do the same as everyone else - work out the budget and part of that is renting high end lenses and cameras.   When your looking at a multi-million dollar budget, the cost of renting your cameras comes to practically zero.

Now stop whining and go create some awesome stuff with your GH4, A7S, Pocket Camera or whatever.  It's all good.   Remember that the Wachowski's could have made millions even if the only version of the Matrix they had was an iPhone video.
 

Honestly I think some people need to either cough up more cash or quit whining so much and learn the benefits of patience.  VLOG will come out or they wouldn't be beta testing it now with these guys.  Panasonic knows how important it is.  If they didn't they will know it when they look at the Ursa Mini.  The price difference between an entry-level Mini and introductory price GH4 is so low that they have to be worried.
If you think that VLOG is mandatory you either have the wrong camera for the job or you haven't learned how to expose properly.   The most impressive VLOG demo in that video is the side to side comparison outdoor with a bright background sky that's blown out.  Go get yourself an ND grad.  Jesus.   You have to learn how to work within your limitations no matter what camera you bought.
I bought a GH4 for personal projects because for the most part it's easy to use, has 4k and looks pretty damn good out of the box.   For my high-end projects I do the same as everyone else - work out the budget and part of that is renting high end lenses and cameras.   When your looking at a multi-million dollar budget, the cost of renting your cameras comes to practically zero.

Now stop whining and go create some awesome stuff with your GH4, A7S, Pocket Camera or whatever.  It's all good.   Remember that the Wachowski's could have made millions even if the only version of the Matrix they had was an iPhone video.
 

Honestly I think some people need to either cough up more cash or quit whining so much and learn the benefits of patience.  VLOG will come out or they wouldn't be beta testing it now with these guys.  Panasonic knows how important it is.  If they didn't they will know it when they look at the Ursa Mini.  The price difference between an entry-level Mini and introductory price GH4 is so low that they have to be worried.
If you think that VLOG is mandatory you either have the wrong camera for the job or you haven't learned how to expose properly.   The most impressive VLOG demo in that video is the side to side comparison outdoor with a bright background sky that's blown out.  Go get yourself an ND grad.  Jesus.   You have to learn how to work within your limitations no matter what camera you bought.
I bought a GH4 for personal projects because for the most part it's easy to use, has 4k and looks pretty damn good out of the box.   For my high-end projects I do the same as everyone else - work out the budget and part of that is renting high end lenses and cameras.   When your looking at a multi-million dollar budget, the cost of renting your cameras comes to practically zero.

Now stop whining and go create some awesome stuff with your GH4, A7S, Pocket Camera or whatever.  It's all good.   Remember that the Wachowski's could have made millions even if the only version of the Matrix they had was an iPhone video.
 

Honestly I think some people need to either cough up more cash or quit whining so much and learn the benefits of patience.  VLOG will come out or they wouldn't be beta testing it now with these guys.  Panasonic knows how important it is.  If they didn't they will know it when they look at the Ursa Mini.  The price difference between an entry-level Mini and introductory price GH4 is so low that they have to be worried.
If you think that VLOG is mandatory you either have the wrong camera for the job or you haven't learned how to expose properly.   The most impressive VLOG demo in that video is the side to side comparison outdoor with a bright background sky that's blown out.  Go get yourself an ND grad.  Jesus.   You have to learn how to work within your limitations no matter what camera you bought.
I bought a GH4 for personal projects because for the most part it's easy to use, has 4k and looks pretty damn good out of the box.   For my high-end projects I do the same as everyone else - work out the budget and part of that is renting high end lenses and cameras.   When your looking at a multi-million dollar budget, the cost of renting your cameras comes to practically zero.

Now stop whining and go create some awesome stuff with your GH4, A7S, Pocket Camera or whatever.  It's all good.   Remember that the Wachowski's could have made millions even if the only version of the Matrix they had was an iPhone video.
 

As an example of what can be done with any good, modern camera...  I think you could probably replicate this scene quite easily if you had the time, the actors and the proper lighting.   Here, crushed blacks are half the fun.  We should do "replicate this Blade Runner scene" as a weekly challenge.   Compare this to the KineMAX snapshot.
 

Nice. What's the camera?

​The problem is *not* the camera (GH4, etc).  The problem is not understanding how to light your subject.   If you don't want an HD TV sitcom look, for gods sake don't light it that way.  The Kinemax shots are lit like a TV drama or sitcom.
As usual, it's not the camera, it's the entire pipeline from composition and motion to lighting, filtration, lens selection, sensor latitude and post production.   You could name the specific touchstones along the way, but the time for blaming your camera is long past.

Clayton, not really trying to brag, but I just finished an anamorphic test on a GH4 of snowfall here in Colorado which looks pretty damn filmic.   Bear in mind I'm just testing focus, aperture, DOF etc. 

It's here: https://vimeo.com/user1649981/review/119725793/6c119e45f5
 
 
 

Here's a little test I ran pointing at the snowfall on the trees and lake out my back porch.   Testing focus, aperture and DOF on my Bolex/Moller 16/32 1.5x, Helios 44-2 pipeline.  I wasn't really trying for anything artful, just mucking around.  I did apply a Filmconvert Kodak Portra 400 pass and 35mm grain.  Probably should have left off the grain since it usually gets compressed away.  If you'd like the original I can enable downloads on the source footage.
https://vimeo.com/user1649981/review/119725793/6c119e45f5
 

I dare say it's time for Panasonic's next GH4 update and soon.  Raw out the HDMI port, VFR out the HDMI port, other aspect ratios out the HDMI port.  Other than that I love my GH4.
 

I don't know if this has been posted before, but here's Mauri Galiano's very nice test which compares the GH4's various aspect ratios in 4k "Photo" mode using a Bolex 16/32 1.5x, an Isco 1.7x and a 2x Proskar.
 
This sealed my decision to finally pull the trigger on a GH4. 
 
The only limitation I see right now is it's only in 30p and 25p.  Apparently someone within Panasonic is pushing hard for 24p.  Otherwise the GH4 (except low light) is an embarrsment of riches.
 

 
eris
 

I don't know if this has been posted before, but here's Mauri Galiano's very nice test which compares the GH4's various aspect ratios in 4k "Photo" mode using a Bolex 16/32 1.5x, an Isco 1.7x and a 2x Proskar.
 
This sealed my decision to finally pull the trigger on a GH4. 
 
The only limitation I see right now is it's only in 30p and 25p.  Apparently someone within Panasonic is pushing hard for 24p.  Otherwise the GH4 (except low light) is an embarrsment of riches.
 

 
eris
 

I don't know if this has been posted before, but here's Mauri Galiano's very nice test which compares the GH4's various aspect ratios in 4k "Photo" mode using a Bolex 16/32 1.5x, an Isco 1.7x and a 2x Proskar.
 
This sealed my decision to finally pull the trigger on a GH4. 
 
The only limitation I see right now is it's only in 30p and 25p.  Apparently someone within Panasonic is pushing hard for 24p.  Otherwise the GH4 (except low light) is an embarrsment of riches.
 

 
eris
 

Take the following recommendations with a grain of salt.  I started out self-financing my own film career, so a whole set of L-glass was out o the picture.
 
I've thought of going to the BMPCC, but as attractive as the camera is physically including raw and 422, the odds that lower priced m43 and APS-C (semi-super-35) sensors will begin providing raw and 422 out of the box are good.
 
I've already tried competing with others for the rare old glass.  For example, really good examples of anamorphic glass (without even single focus) such as the Bolex Moeller 16/32 are going for over $2000.   That's just crazy when you can rent a set of Oct 19/P2 Lomo's for 2 weeks for $2000.
 
At some point you realize you just have to pay a little extra to get what you want now and move on.  The BMCC is getting discounted to a reasonable price.  Get one (if you can) for M43.
 
(Really wish some company would take a Bolex Moller 16/32 to an optical engineer and just copy the design -- except include focus servos for those that want single focus as an option.)
 
As far as your other questions: My experience has taught me to buy the lenses and fit the right camera to them.   The half life of a decent digital camera these days is a about 2 years.   Good lenses last for a lifetime.   I'm still running with my set of manual DSLR lenses plus a Tokina 11-16 and a Minolta Macro Zoom for special occasions.  I'm betting on micro 4/3 and larger sensors in the future.  For what it's worth, here's my current lens list:
 
Pentax/Asahi:
 
Super-Multi-Coated Takumar 35mm f2  
Super-Multi-Coated Takumar 50mm f1.4
Super Takumar 50mm f1.4 (first production series)
 
All the Takumars are super high precision, buttery focus, have generally excellent bokeh and are inexpensive.  Huge bang for the buck.  The 35mm gives a relatively normal field of view for crop sensors and the 50 becomes nice for short portaits.   Good for multitude of purposes.  The first gen Super Tak is beautiful and very nice as an anamorphic taking lens.  It's not too wide and it's single coated so it doesn't filter anamorphic flare.
 
Minolta:
 
Rokkor-PG 58mm f1.2
Rokkor Zoom Macro 35-70mm
 
The right Minolta manual can be very useful.  We shot a lot of our first film on the f1.2 Rokkor.  On a crop sensor it becomes an almost magical short portrait lens, isn't too "analytical" and yields just gorgeous natural light results with the best bokeh in the business.  Sort of a legendary bokeh monster lens.  Just be prepared for razor thin DOF at f1.2.  Don't overuse the f1.2 in natural light *instead* of proper lighting.
 
The Rokkor Zoom Macro is a incredibly precise Zoom that rivals most primes.  On crop sensors it covers short portrait to normal telephoto.   It has a 1.5x light macro mode that allows very close focus which is great for super-closeups (rare in a zoom).  This is the lens that Leica liked so much they re-badged it as their own.  If you wait a week or so on ebay you can usually find a nice example that not too expensive.  I think I got mine for $200.
 
Zeiss Jena:
 
35mm f2.4 Flektogon
80mm f2.8 Biometar Zebra (Medium Format)
 
Zeiss Jena is the original Zeiss factory that the Russians captured and move to the homelad after WWII (which resulted in the Helios 44-2 and others). When Jena recovered they continued making mostly comparable glass into the 60s and early 70s until the warped communist economy finally screwed up their production capabilities.
 
The 35mm f2.4 Flektogon is a wonderful little lens.  It's precise, not too large, has a normal field of view for crop sensors and great bokeh.  Oh yeah -- it has the standard Zeiss mechanical and optical precision and punchy contrast.   It also focuses down to 3 inches. :-)
 
The 80mm Biometar is an interesting lens.  I found it while searching for a good long focal length anamorphic taking lens.  It had to have single coating so as not to unduly filter out anamorphic flare (thus the 1960s Zebra version).  It had to have good precision and optics.   It's Zeiss Jena and the overall optical quality is only slightly less than the equivalent West German Zeiss of the time.  In any case its optical performance in the center is second to none and that's what the m43 and APS-C sensors are going to be looking through.   I have noticed *no* aberations when looking through the center -- first time I've heard that.   Any imperfections in the center would either be eliminated by Zeiss QC or not generally in the field of focus.
 
The wierd thing is (not sure how this works) is that while it's rated at f2.8, it lets almost as much light through at f2.8 as my f1.4 takumars -- but without the accompanying razor thin DOF.   Early anamorphic tests are very positive with LED point sources throwing super punchy and sharp anamorphic flare (right out of Alien :-), while the increased focal length and DOF makes for some very nice cinematic footage.  Mechanical design is typical Zeiss precision, but the Zebra Biometars are now almost 50 years old and the focus helical can get a little stiff.  Suggest you have it serviced at a reputable rebuilder for best performance.  These were the default lens on the old Pentacon Six cameras so there are a fair number of good examples left.   Expect to pay around $200 for a good copy.
 
Nikon: Ai-s 24mm f2
 
The Nikon used to be my go-to lens for slightly wider FOV with crop sensors.  Typical Nikon quality but I don't use it as much as I used to.  If I need to go wide-wide I usually use the excellent Tokina 11-16mm.
 
Helios: 44-2 58mm f2
 
The Helios is a Russian copy of the Zeiss Biotar.   It's used a lot as an anamorphic taking lens.  While it is single coated and a generally nice lens (fun bokeh, good flare, moderately precise), my copy (new old stock) had oil on the aperture blades and a pretty stiff focus ring.  There are rebuild videos by a cool Austrian dude on YouTube.  I might get around to it or just buy another.
 
Sankor 16-D 2x Anamorphic
 
Entry level, but beautiful Anamorphic.   My copy was in prettty fine physical shape.   I shot some fun test footage in Boulder CO on Pearl St Mall which I'll hopefully post some time soon.  The Sankor may not be the most precise anamorphic but it does throw beautiful anamorphic flares.  Good for understanding how anamorphics work even though it's dual focus.  You can get one for about $200 - $300 and pick up an adapter for about $50 - $100.   My only major issue is that, even though I swear I have it properly aligned, It's bokeh are oval but tilted slightly to the left and I can't figure out why.   It probably needs re-collimation, but I'm just guessing.
 
Tokina 11-16mm f/2.8 AT-X Autofocus (either Nikon or Canon mount)
 
This is a great constant focal length uber-wide zoom.  I recommend the Nikon mount for anything other than Canon as the Canon version doesn't have an easy way to manually adjust aperture.  Mines a canon mount and I just set and leave it at f2.8.  On a 2x crop the 11mm is still pretty wide.  Not sure how useful it would be adapted to a BMPCC.   It would be somewhere around 33mm which is wide, but not Quentin Tarantino wide (usually 24-28mm).  I bought this new at B&H for around $700 when it was hard to get.  My most expensive lens so far and I know that's not saying much.
 
All in all I love my lens collection. 
 
Good luck to you.