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The listing of anamorphic is an error, or it might be for an isolated part of the film because this is, like Tree of Life, a mixed media film.  But the primary process used is spherical 35mm with some sequences shot in 65mm.   Deep focus, using wide primes and shooting at optimal times of the day are part of his dogma for the last two films.  He uses steadicam but a lot of the BTS shots of the cameraman that I saw had him in an Easyrig, or equivalent.  It's not actually a stabilizer so that could account for glitches in the movement.   He used a lot of locals.  Locations were scouted, particularly interiors, for how natural light played throughout the day.  It's an available and practical light film.  They didn't use movie lights.   http://www.theasc.com/ac_magazine/April2013/TotheWonder/page1.php   ...they occasionally used some bounce but in every scene they placed actors relative to natural light or practical lights and it's just that beautiful. 

I came across this post that compares a Century Optics wide screen converter to Panasonic's LA7200: http://www.horroblepictures.com/p/cinematography.html   I have to admit that I didn't realise that Century Optics was a subsidiary of Schneider Optics. I also didn't realise there were two Century Optics adapters -the standard DS-1609-SB which is the most common on ebay, and the DS-WS13-SB which is focusable and can be zoomed through. More info here: http://www.schneideroptics.com/pdfs/century/brochures/CP_PD170_VX2100.pdf    

  Blackmagic is the company that does the buying out....................................................................... The problem is people think BMD are some new company that decided to bring a little nifty 2013 version of the "flip video" cameras and are willing to be bought out by some other company.. 

After setting it up and calibrating it, I feel that the AC7 is the ultimate anamorphic monitor. You can switch the anamorphic mode I mentioned above on and off with ease, and the image that you get is so large that it is really easy to check critical focus, especially by assigning Focus Assist Max to one of the buttons. This monitor breathes life back into my GH2, which does not allow the camera's magnified focus assist to be used when an HDMI cable is plugged in. I could never tell what was truly in focus. But now it's become my primary anamorphic camera again.   I only wish that it had waveform monitoring, but the false color feature is pretty easy to use.   I saved some money (and weight) by buying the HDMI-only LCD version, but I can always send it back to SmallHD in the future for the SDI upgrade. 

I already tested the MINI's sensor in the larger S35 model and there were no white blobs or black spots, as far as I could see. Need more time with the camera to dig deeper, that time will come in 1-2 weeks.

I like Digital Bolex, Rich!   Forget the hipster-style marketing, they are producing a small engineering miracle. $120,000 or so is nothing to develop a camera with. Naaathing. They are giving us a global shutter & XLR for $2300. Same image quality as $8000 Ikonoskop.   Yes they are delayed. But so were Red, so are Blackmagic, on vastly larger budgets and staffing levels.

All of these manufacturers get close to optimum but don't reach it.   3 Blackmagic models and none of them satisfies me completely (stops, sensor size, rolling shutter, weight, there's always something wrong).   2 Kinefinity models and they seem to get it right but, honestly, price is almost double.   x Canon cameras that make the job but not out of the box and not without limitations.   Personally I think that the first company that puts on the market a camera with the following specs:   S35 sensor size FullHD 12 stops Raw + ProRes or Cineform normal SSD internal recording 2000-2500 $ price   will sale tons!   I think none of us needs 4k, nor wants to use Compact Flash, nor wants to buy add-ons to make the camera work, nor wants to struggle with crop factors, and most of all none of us goes for Raw if dynamic range is limited.