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Yep I have used this feature with my lomo square front to give me a 50mm to 125mm zoom. That is a 2.5x zoom and still gives a 1:1 pixel density with the 2x stretch and downscale of 75% to a 2.4 ratio on an HD timeline. Also I can shoot FF with it, sure it will vignette but all vignetting is remove once cropped to 2.4. The a7s is the perfect camera with a lomo anamorphic prime.

CPU speed and video card aside, heed my advice... you need to think about backups! I'd go with a used / tested LTO-4 or 5, on ebay. If you're serious about editing, you're gonna need a searchable library of footage to keep offline, not just a stack of firewire drives and dead computers. Just my 2 cents.

Don't forget that you can shoot 10bit 4:2:2 4K downscaled to Prores 1080 on the GH4 with the help of an Atamos Ninja (the Ninja Star makes most sense to me). That will give you a very full pallet of colours to work with in a very manageable format. Add a speed booster and you have S35 FOV. The GH4 really is hard to beat unless you plan on shooting in low light a lot. Personally I think the colours everyone is getting from the A7S are just next-door to horrible (cue the backlash ...).

While some may not be a fan of Andrew's clips content, I truly appreciate what it shows us. The high ASA possibilities of the A7s have my mind reeling. And as someone who started on film for several years, I'm not nostalgic for it at all. I don't miss ten minute rolls. I don't miss the time it takes to thread a Panavision. I don't miss the lousy monitoring from a film camera. I don't miss not being able to see how it's going to look on set. Most of all, I don't miss the expense. Independents can put more money and time towards talent, locations, art, etc. Keep up the footage coming Andrew. Only question I have is: When you record to your Atomos, are u going through a 4k down convert box first?

A website featuring stills from films and their corresponding color palettes. A tool to promote learning and inspiration. Updated daily. http://moviesincolor.com/