Jonesy Jones

Posts in the subforums just don't seem to get anywhere near the number of eyeballs that topics in the main forum do. It's a shame, there's some great stuff in the screening room sub-forum. I think the issue is it's just too diffuse, with each video in its own thread (and sometimes, if people haven't embedded it properly, it's another click away), plus some things are in the GH4 or ML specific threads. I can see the point of gear-specific threads, but I don't just want to see stuff shot on the same cameras that I have, and I don't think its healthy to have a gear conformity attitude (remember Kendy Ty!)
 
I think screening room would work really well as a long single thread. It would be a one-stop site where you could see what people on the forum are up to and get some inspiration (or, if you're watching one of my contributions, look at an urban cityscape you've seen in countless other videos cut to a hip soundtrack with some speed ramping and a LUT or two. Yeah I know my limits)

I can't help you pick a screen but I can tell you that I've been editing 4K footage on my Macbook Pro 15" Retina display. And I don't believe the Retina displays are 4K but more like 2.5K (someone right me if I'm wrong). But yeah, I have had ZERO problems with coloring/editing so far.

Wong Kar-Wai films, speaking about Deakins.
 
The first two mainstream films where sDoF was used quite often were Die Hard and Alien3 (though only in 'selected shots'). You are right. sDoF is not typical for cinema.

So FFs have advantage here actually. Some of them have crop mode option in video (like Sony a7S) so you will get exactly what you want: 2 fov-s from 1 lens. But in opposite to smaller sensor + SB:
- you don't have to unmount lens and mount SB to change FOV. Just press a button.
- you don't have to pay for expensive SB (even worse if you want to use lenses with different mount-s).
- you get 2 fov-s even with native lenses (with their advantages: perfect fit, autofocus. IS, size, software in-camera corrections etc.)

I think the ideal is probably to have a sensor larger than S35, where 4K is the central S35 portion, 5 or 6k is your full frame, and smaller crops from the center are capabale of higher frame rates. Then using an amazing compressed raw codec.
 
But wait, That's a Red Epic!
 
Red do get some things right ;) shame the footage just doesn't look as nice as Arri's