tupp

Cinematographers have long been using vintage lenses with digital on Oscar-nominated films.  Only relatively recently have shooters on smaller projects commenced utilizing the beautiful character of vintage glass.
Certainly, a lot of beautiful and powerful cinematography has been created in the square format, but it is perplexing why anyone would shoot an entire project with anamorphic glass only to crop it square in post.  To make such square imagery impactful, one usually must compose for that for that format while shooting.  If they did so using framing guides, then one wonders how they could reconcile all that wasted image space (and wasted sensor resolution).  Are linear flares and oval highlights worth the sacrifice?
In regards to Oscar-nominated films only using Alexas and mostly vintage glass, here is an interview with the DP of "Ex Machina" (2014), in which he explains why he used the combination of old Xtal Express glass with a Sony F65.

Ha, ha, ha!
I think that you have "defied the moment!"

Simplistic tough talk and hyperbole fill this apparent announcement page.  No doubt the marketing person who wrote this is a thoroughly experienced shooter.

I'd be happy even with 200-250g. A 9-11mm f2 with AF (and much better IQ than the 14mm f/2.5 + adapter offers). I'm sure it'd sell enough as nothing our there currently exists.

I hope so.
None that I know of that are for ILC cameras. A few for high-end video surveillance/industrial uses.

One apparent casualty of this rebranding was the excellent-value-for-money Line Audio OM-1 microphone, which was required last year to be renamed the "Omni-1" microphone. http://www.lineaudio.se/OM1.html

Interesting to see this trend.
LOMO anamorphic gets a nod!
Cameras used though not so interesting, a lot of ARRI as usual!

Let's hope that they put more effort and resources into developing, manufacturing and supporting future cameras.

Well, perhaps the 150g stipulation is a bit arbitrary (and rather low, considering that fast superwides require bigger, heaver glass, and need bigger heavier housings to hold that glass).  Remove the 150g stipulation, and solutions appear.
 
 

hi @webrunner5~!

Lets give them the benefit of the doubt and see what they do. I think it will be hard going since MFT sensor development has slowed compared to FF and MF sensors.
Having moved to FF, and looking at affordable S35 cinema cameras, I still would consider MFT if the entire package is there. A MFT cinema camera with internal ND and good dynamic range around 13 stops in a mirrorless style body smaller than C70...that is interesting. Olympus has great f/1.2 primes. They need to update their f/2 zooms and revamp them for video in useful focal ranges: 9-25, 12-40, 40-100 f/2.
A 9-25 f/2 + 40-100 f/2 would be a sweet small package if the body has cinema features.

I hope they didn't pay someone a ton of money to design that webpage! They probably did. 😬

Nice web presentation. Very pleasing to look at. Like it! Go OM, go!:)

Maybe. The fact remains that there's no other solution at the moment. Also, let's remember that the DMC-GWC1 wasn't just ANY wide-angle converter, it's the one that Panasonic specifically designed for 2 lenses: the 14-42 PZ (at 14mm) and the 14mm f/2.5. I've heard of it working on others too (like my Olympus 14-42 EZ), but not officially. With the Panasonic 15mm f/1.7, it supposedly works, but it'll only get you to 12mm f/1.7... might at well get the Olympus 12mm f/2.0 and save weight.
If you were to tell me in 2012 that there would be no other solution to this in 2022, I would have called you crazy. Of course, M43 manufacturers would have found something in 10 years. Sadly, it doesn't look like it'll EVER happen.

Simplistic tough talk and hyperbole fill this apparent announcement page.  No doubt the marketing person who wrote this is a thoroughly experienced shooter.

Let's not go anywhere that might be inappropriate for this forum!
Incidentally, allowing the use of a wide angle adapter is a trick question!
 

Let's not go anywhere that might be inappropriate for this forum!
Incidentally, allowing the use of a wide angle adapter is a trick question!
 

Bingo. You win @homestar_kevin! Congrats to bragging rights.
Indecently, how do you like your Sony VCL-ECU1? I checked out some videos on it, but most people just said they got it because the DMC-GWC1 wasn't for sale anymore.
I had been looking for a used one for roughly 4 years (off and on). I finally found one a few weeks ago and the guy wanted a direct transfer... (a bit risky) but I did it and he followed through. As I mentioned above, I cannot believe that we don't have a better solution as this set up dates back to 2012. I saw a few others available over the years, but they were just asking too much or they were too far away.
Here it is on my GM1 (as my Olympus E-P7 had to go into the shop for IBIS recalibration). The AF is working almost flawlessly on my E-M1 ii with tracking and face-detect on. I have to make a few more tests, but I like what I see. Also, as it was designed for this lens, everything is super easy to take on and off. I'm going to try adding some ND on it now, but it should be a challenge as there are no filter threads (nothings perfect).

Simplistic tough talk and hyperbole fill this apparent announcement page.  No doubt the marketing person who wrote this is a thoroughly experienced shooter.

This is the only one?

This is the only one?

Oh, I missed the 150g.

Nope. That one isn't 150g or less. I'm sure it's a great lens, but at $1700 and almost 700g. Try again.

In the spirit of M43 geekery, I'm asking you this question:
What is the only M43 native lens, under 150g, capable of wider than 12mm, yet has AF and a wider aperture than f/2.8?
It would seem the demand would be high for such a lens. I cannot believe that it's 2022 and I believe there's only one. What is it?

Yeah put a Speedbooster on the Canon R and you are back to full frame. Trouble is even the R is still fairly expensive yet. Canon can't seem to make a new camera worth a crap anymore, so that inflates the used market.