mirekti

Maybe he was mistaken when he said he was in 30ish range, because I reached out to him and he replied what his setup was: Metabones 0.71 M43-EF -> Leica R to EF adapter -> Leica R Summicron 50 -> Rapido V2 Clamp -> Kowa 16-H -> Rectilux Hardcore DNA Cheers and thanks!!!

I forgot to ask about this. I see SLR magic has Cine line of prime anamorphic lenses. So if I shoot a video on GH5S with their Cine 35mm, would this eventually give me 35mm FF FoV or 70mm?

Thank you for all the info. I wasn’t aware there was so much drama, but I understand it. Especally if all above is true. In this video Jacob claims 30ish FOV. https://www.youtube.com/watch?v=1Hw8Qok2IAE

I plan on buying Isco Micro Red single focus with SuperScope from Ebay and use it with GH5S. I might change my mind, but don’t see any other full solution at the moment and not sure I’d be able to set it all up by myself. 2.39:1 is what I am after. I have already bought 44-2 58mm and have Kipon speedbooster 0.7x which I plan on using with Summicron-R 50mm. I am having trouble understanding what determines the widest I could go. Tried to use calculator on the Isco’s seller website, but it was very confusing. For example the site claims if one uses 50mm on FF, and add the setup I plan on buying, it would give us 16mm FoV, yet when I put these numbers in the calculator on that site it says such combination wouldn’t work. I would really love it if I could make 20-24mm with GH5S, but not sure this is possible with the planned set. Also, I wondered how much of an impact front element of taking lens has in my setup. A week ago I tried SLR Magic 1.33x Compact 40 on a6500 and it worked with Sony’s 20mm f/2.8 pancake, only very, very small portion of corners was darken, whilst 24mm f1.8 was almost not usable yet 4mm wider. Do you think Leica M glass would work well given their small factor? Have I made a mistake by choosing MFT format and trying to go wide anamorphic? Even if I did, I really hated rolling shutter on a6500 and assume the same would happen with a7. Any help and comments/critique is more than welcome.

I used to own it, loved how wide it was.

I was browsnig for anamorphic and just read this. Has there been any development on your ideas above?

Could someone tell me which Leica lens is this? https://www.youtube.com/watch?v=1Hw8Qok2IAE

Can someone explain what is optimized in Pro S-Log? I was under impression S-log2 is the way to go, but given the number of LUTs it seems Cinema is more preferred. Also, how many stops of DR is in Pro Cinema vs Pro S-Log? Also, in many videos people change details to -7 for 4k, but due to soft 1080p bring it back to 0 when shooting FullHD. Should I also adjust it this way i.e. one PP for 4k, and the other for FullHD using instructions from the pdf yet setting details to 0 instead of value recommended in pdf?

I was thinking of buying the log package, but was wondering if it covers usage of ND filters. For example, I will be using Tiffen Variable ND filter and one of the things ND filters do is adding some color shift. Does PDF document covers white balance setting in respect to the ND filter and/or different color setting for log when filter is in place?

Cool. Do you perhaps know if EOSHD Pro Log document was done under assumption the footage would be 1-2 stops overexposed as Slog2? I was thinking of putchasing Pro Log just to have a good starting point with Slog2, but grade using ACES in Davinci.

Isn't increasing the saturation and color depth actually reducing the dynamic range? I was thinking it was supposed to be left at default values, adjusted in post, and the only and most important thing about sLog2 is to overexpose by 2 stops.