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[attachment=420:7D Trumpetsmall.jpg] This is an image of the coolest looking anamorphic setup I have ever seen. Cinevision 8mm 1.5x anamorphot, helios zebra 44-2 (with matched blue flares to match the horizontal blue flare of the cinevision) and the zacuto evf with 1.5x desqueeze. due to the amount of flare he has fitted a hood and variable nd which is probably a good idea for sunny days. this is how the system looks:-       flares:- http://vimeo.com/58577845    http://vimeo.com/59005040     use:- http://vimeo.com/58784632

HI Andrew, NIce article! I like your clear stand on the democratisation of film making. I have worked extensively with the Alexa (Plus, M and Studio) and I think there are a couple of things that I think should be pointed out. I feel it is a little misleading to say that crews simply stick the Alexa on Pro Res. Firstly it can only record pro res to the SxS cards (4444, 12 bit mind you), which most found more than enough. Hell for TV 422 is enough. Secondly if you do want to record RAW up until the Gemini recorder (which has it's own problems) you had to record to those bloody codex boxes. Suffice to say all this extra crap is an operators worst nightmare. The other thing not to discount is having a reasonable size VF. Remember how big the 435 VF was especially with an EPL!! DP's used to be able to light from them. The Alexa studios optical VF isn't small either. Anyway man, keep fighting the good fight.

I agree. It takes some time to get used to focusing both lens correctly. I use following technique: for close-ups I just focus both lenses all the way down and fine tune via taking lens focus. For focusing on far objects everything is vice versa, except for fine tuning is done again with taking lens. For inbetween distances I try to focus both lenses on approximately same distances basing on focusing marks on 'em.   Wish you luck and lots of patience while practicing.

That's the "ARRI Alexa" setting  ;)

Set the brightness to strongest setting and turn it off auto brightness.

No the cinema look doesn't depend purely on an aspect ratio, but for me - personally speaking as ever on EOSHD (my own site) - I prefer the wider aspect ratio to that of a television. Also I have no problem with 1.33 (4/3) if you stick an anamorphic on it. I want this on the Blackmagic Camera desperately. The GH2 in 4:3 with the hack is basically upscaled VGA!!

Is there anything I can get away with in a Nikon mount? I want to avoid investing in M4/3 glass...   If I have no choice, is the 14mm Panasonic good enough for documentary work?   Thanks!

I think that the simple answer is no.  The HDMI connection of a PC graphics card doesn't accept incoming signals.  You could use the HDMI out on the GH2 to connect directly to a monitor or the AV out/digital to connect to a monitor/TV using the yellow/white/red connectors using the cable supplied with the GH2. 

I was pleasantly surprised to find this documentary broadcast on SBS Television Australia.....at first I did not know anything about the production.....and then I found myself immersed in the content and Mark Cousins' presentation.......it runs for 15 hours :)   In the unlikely event you've not heard about this extraordinary documentary here is a link to the trailer.   http://www.youtube.com/watch?v=jAQNc6aQtO0

According to rumors the upcomping Sony A58 will get a new 20MP sensor. This will probably replace the current 16 MP sensor and I would expect new NEX camera's will also get this sensor (except for the NEX-3N, which will be released soon with the current 16MP sensor).   I'm really curious how this new 20MP sensor will turn out. I hope it will be as good, or better, than the Toshiba 24MP sensor in de Nikon D5200 for video.   A NEX-5R or NEX-6 replacement with this new 20MP sensor would be great if it is on par with the Toshiba-sensor. Especially combined with the speed booster.    

  LOL, you obviously haven't read the actual tests being done (click the link above).  Resolution with the same lens on the adapted NEX is measurably higher than a 5DmkII in the center and averaged over the entire lens, only dipping slightly in the corners.  Right there, sharper than still the best value in full-frame motion picture shooting, so good still that Canon had to take it off the market to make their newer, more expensive cameras more attractive to Canon buyers.   Also, you haven't read how Slumdog Millionaire was shot with those cameras either.    Please, continue to punt though.