Rikoshet

I love my Moeller 16/32/1.5 that much, I might be buried with it. You can keep your Iscos thanks. 

This image is the perfect example of why I don't like projection scopes.
As for crop and FOV, you can always use the calculator. ?
www.tferradans.com/anacalc/go

Hey @Rikoshet
The reason I don't love big anamorphics is because although they cost you less at first, in the long run you'll be wrecked by hauling them around. Plus support gear and stress on your taking lens and camera mount.
They usually have far minimum focus (past 4m), and not necessarily go wider than their smaller counterparts. Flares are a different universe and I lack info on that from lack of experimentation.
Good luck!

Agree with this. Run & Gun Anamorphic is the way to go with all these new, light weight, mirrorless cameras these days. Having great luck with the MOSTY SE 16mm 2x [GOLD], very nice anamorphic adapter indeed, rally sharp wide open, faster focus than my taking lens. 

If you want something sharp I will go zeiss I think, the russian 28mm is slow , and I did not try the FD.

Heya! No, that won't work because optics don't work that way.

It ends up being around a 35mm field of view (which is insane!)
50mm x 1.9crop = 95mm fov 
95mm x .64speedbooster = 60.8mm fov
60.8mm / 1.75x anamorphic = 34.7mm fov
 

in video mode with extraction for 2.39, I quickly tested in photo mode and I should also be able to extract 2.39 from it .

Basically the cinelux cover up to 42.5mm for 35mm, 4 perf anamorphic ( that a larger area than most super 35mm sensors), once you add a single focus solution in from you mostly cover up to 45mm .

https://www.pointsinfocus.com/tools/depth-of-field-and-equivalent-lens-calculator/#{"c":[{"av":"2","fl":42.5,"d":3048,"cm":"0"}],"m":0}

I did a data input there so you can see the equivalency per format.

That still theoretical as the lens design of the taking prime influence the values as well, but that a good ballpark.

Even in photo mode?
Or in video (after cropping out the sides in order to finally deliver in 2.35:1) ?
That'd be quite a feat, though everything is possible. Especially in anamorphic world.
 
Meanwhile, OP mentions M4/3 camera, which most likely means GH5 and therefore - 4:3 open gate mode.

I don t think that true, I can go 55mm with a cinelux 2x + rectilux on full frame .

You should be able to use a 28mm if you don t use a speedbooster.

1. modern glass, so native high quality M4/3 glass from Panasonic or Olympus or veydra.
2. cinelux ES
3. Rectilux HCDNA

You will get oval bokeh and some corner distortion ,that will be very sharp but sterile .
You should rather consider vintage primes as taking lenses, you will get less sharp results but something with more live in it.

hey yeah! Still waiting for some gear and the project I am working on with this setup doesn't start production till late March or so.  But here's some stills from test footage in the meantime.  I am going to be using the Nikkor 50 1.8 and the 85 f2 as taking lenses together with an XL .64 Metabones...also waiting to receive a V1 Aivascope which I will use in some shots for flaring.  The V2 does not flare unless you really blast it with something.  I ended up with a ProtoDNA thanks to the wonderful advice from JSD and it's awesome.  I am just now opening a box with the Titla G2X and Nucleus Nano.  Will get her all balanced up and report back with some pics!  Planning on mostly using one Pocket4K on sticks, another dedicated to the gimbal for tracking shots. 

Thank you for the answer, Sage!

Hello Sage! I'm very interested in your idea!
Yesterday arrived my new gh5 and I discovered all the dynamic range of HLG! WOW! Highlights are there!
But I'm stuck with editing workflow since premiere pro doesn't support rec2020... I found this topic so the idea is to use your hlg-to-vlog lut in premiere/lumetri color/Basic Correction/Input lut and in premiere/lumetri color/Creative/Look aplying vlog-to-REC709 lut. Am I right by doing this?
Thank you for sharing your work!
 

So as I've hinted more than a few times in the other thread, the discovery of the Cinelike D and other bits and pieces for the GX80 etc was actually a bit of a happy accident while I was trying to do understand the Panasonic wifi stuff for something else.
And here is that something else.
Well at least a prototype of it but it is fully functioning and will just be finessed a bit more.
Basically, its a wireless hardware remote for the G series cameras that operates over wifi and can currently control record start/stop, shutter speed as well as aperture and focus if you're using a native lens, including a single shot AF switch.
For the non-Cinelike D cameras that can now be hacked to have Cinelike D there is also a dedicated button to toggle it on and off so you don't need to mess about with browsers and computers or smartphones anymore.
Focus and aperture control are done on a joystick and everything else is switches.
I'll be putting a layer switch on so that it can be toggled back and forth to a different control mode for ISO, WB and other stuff.
As this is the prototype it is nowhere near the finished piece and it will be reduced in form factor to just be about the size of the control board. Power is by any USB source so there are billions of options.
There is a lot more finessing and feature enhancement to go on with regard to the focus control (and yes, I know exactly what you'll all want it to do !) but the hard part is done now.
It does support the display of the values on a screen and I'll be sorting some options out for that.
The purpose of this gadget is primarily for use with a gimbal but it can also be really useful on a tripod bar for anyone shooting live event stuff. For cameras with inbuilt lenses I'm going to add a zoom mode on the joystick.
A very quick very rough demo so you can see it in action.
Any lag you might see between me operating the controller and the camera video is just a sync issue between me throwing the two recordings on very quickly