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You might struggle, with such a large sensor. The Iscorama 54 has a very big rear element, and if you don't mind some soft-ish corners and fall off (not a hard vignette) you could try pairing it with a vintage full frame lens on an adapter for the GFX 100. You just wouldn't get away with 50mm like on full frame... Would need to go longer... 85mm perhaps. Don't bother pairing it with the modern Fuji G lenses. Won't work. Needs more simple optics behind it. Maybe a Canon FD 85mm F1.8 or something like that. I plan to take a deeper look into this next month. There's a lot I haven't got round to trying. Do you have an anamorphic lens at the moment, or are you looking - if so what's your budget and aims? Cheers

Expect no more vignetting* than this here: source 24mm f/1.8 source * which bothers me zero when under (crop &) control

Sony should get in on some of that sweet LiDAR action then.

Thanks! I appreciate that. Got love B&W!

I agree with others, no doubt C300 Mk2 does the right thing, except for stills or 4k 60p, use the hybrid 1DX Mk2. Duck soup recipe in my opinion.

So, turns out that hitting Command-Return instead of Shift-Return submits the post. Who knew? anyway, Part Two. They have smaller apertures. This might seem to be a disadvantage, but maybe not as much as you'd imagine. Firstly, smaller apertures are easy to focus, so less shots with missed focus. BOOM. You're welcome. Tell Panasonic (or whoever) I just upgraded their AF. See if you can tell the difference in DoF between these? No? Well, F2.8 to F3.5 isn't much difference. OK, let's get less fair.. What about these? Sure, it's a small difference, but that's a two whole stops. It's also many many hundreds of dollars. Low light is definitely a difference here, that's true, so the kit zoom isn't really a low-light monster, but these lenses are practically free so you can't have everything!

I single-handedly shot an entire narrative short film during the first lockdown, using the original BMPCC. The camera performed magnificently but I did have it fully rigged out. Shot using two SLR Magic primes - 10mm T2.1 and the 17mm T1.6. A one-person crew and one-mother cast, this is a film featuring my poor mum, who’s never acted, and a very, very unlikely hero… Jean-Luc Godard once said “All you need for a movie is a gun and a girl.” My mum doesn’t speak very good English, so I had to do without dialogue. I didn’t have a gun so we had to do without that too. We couldn’t leave the house, so I shot it all there. And I had no crew to help me, so I did everything myself. If anyone has any feedback or questions I'm always happy to hear! https://youtu.be/SBwje8EDl84