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thanks for the comments guys. all noted. and additional focal lengths are in pipeline. I'd hoped for them to be available sooner, but it's taking longer to develop than I'd expected. looks like possibility of a 40mm and a 25mm, both in f2 aperture in the next few months.

It's old news. The technique uses interlacing on the sensor with alternate lines exposed at different ISOs, then blended in post to create the final high dynamic range image.   The problem for video is that it creates a TON of moire and aliasing plus a drop of almost half in terms of resolution! None of the headline grabbing articles ever mention this though, because it's click-bate drivel.   This technique is more useful for stills, but is it really needed? You can easily just blend three burst mode frames together bracketed at different exposures if you want 15 stops.   The latest 1 stop improvement is just a tweak, and it's what engineers like doing best. Maximising every ounce of performance from their code. This is understandable but I'd rather Magic Lantern took a long hard look at usability and implemented new features on that side. For instance putting the Canon menu functionality for video frame rate and resolution into the unified Magic Lantern menus. Have a feature that forces the camera to record to CF card not the SD card slot when a CF card is inserted. Have an option for no overlays like in the 3:2 full screen no-info display mode but 16:9. Little boring things like this would make my life a lot easier when shooting raw on the 5D Mark III.

Most important for me would be FF compatibility. But a lot better would be a speed booster to go from medium format to full frame ;)

For me, I love the look coming from your DS lenses, and would love to see an anamorphic with a decent squeeze (no 1.33X BS) added into the mix. BUT . . . I need a set of lenses that match. This above all else is what I'm looking for right now, a set of at least three matched lenses faster than f2.8. If you can muster a couple more lenses in other focal lengths, to go along with the FF58, I'd be VERY tempted. If you add to that set a single-focus anamorphic (or anamorphics), you've got me, hook line and sinker for $1500+, no question.

Here's a simple phrase that should help: "Chase Mini Van" Open the doors and pace the riders.

First mistake: talking to producers about cameras or technology. There's some great Super-16mm stuff out there. I really liked what Phil Parmet did with the format in Rob Zombie's The Devil's Rejects. The AMC broadcast for The Walking Dead looks like ass but on BD it's also a good looking show. But there's nothing about the look that says "Alexa". For an unscientific but very interesting and aesthetically-oriented test of several cameras, including Arri Alexa and S16, see John Brawley's "Available Light" test: ...35mm (Aaton), Arri Alexa, RED MX, Sony F3 and Canon EOS 1DmkIV.

I just watched one of my old DVDs this weekend. Not a Blu-Ray, just a plain standard definition DVD on a mid-2000s 720P TV. I got sucked into the movie. Never once noticed the lower resolution. Just saying.

I hope many BMPCCs will pop up on ebay. Cheap, useless, obsolete BMPCCs.

Shot with a Panasonic G6. "Natural" Profile with everything dialed down to -5. Steadicam shots with a Pana 14 2.5, all other footage with Canon FD's.

Oh, and it didn't click until now, I must be getting old, Gravity is this year's Life of Pi test. More than 80% of that film is not Alexa or film it's synthetic, lit by digital artists using the Arnold renderer (same as Pacific Rim and, going back a bit, Monster House). Cuaron named his Framestore vfx supervisor, Tim Webber, in his acceptance speech at the Golden Globes which makes him a class act, unlike that prick Ang Lee. Cuaron acknowledged that his film could not have been made otherwise. If they give the DP award to Lubezki I'm fairly positive he will also be showing Claudio how it's done. Unlike Miranda, Lubezki was actually involved in the visual effects and animation that make up an overwhelming majority of the film's imagery and therefore rightfully shares ownership in the end result, like Deakins does in his immersive forays into effects and animation.

also have a few left of these split ones. http://www.redstan.com/index.php?route=product/product&path=33&product_id=61