eris

Agreed. Don't use on-camera de-squeeze since my monitor can do 1.3, 1.5, 1.75 and 2x. I guess it would be important if you're going lightweight. My DP, Mauri Galiano tried the GH5 in open-gate 6k anamorphic with a variety of 2x lenses. He said it's fantastic and the only problem right now is there's a bug in H265 decoding in Premiere. I use Davinci so it's not so much of an issue. Now I just need to get a good mount for my Sankor 16D.

This would be completely acceptable as production ready footage. (IMHO)

True enough. 1.5x looks pretty good. significantly better than 1.3x which I agree -- why bother. I'm tending towards 2x now that the GH5 has great support and CoreDNA is available.

Because 1.5x will take HD or UHD (present on all cameras) and convert it to scope. That's why

Here's a very nice Sankor 16 test.

One of the coolest Sankor 16 demos I've seen. This is how you get a lot of anamorphic on the cheap. The model helps too.

I have a couple metabones adapters for my GH4, but was considering getting a C/Y Metabones Ultra (.71x) adapter for the GH5 and anamorphic. Why? 1) It gives you access to some fantastic Contax Zeiss glass. 2) An inexpensive M42 adapter on the C/Y metabones might well give you access to CZJ and Pentax primes (of which I have a number: 35mm Flektogon 2.4 and Super Takumars especially) 3) M42 to C/Y adapters take advantage of the fact that there's only a .01mm registration distance difference between them. The M42 adapter usually sinks the M42 lens into the mount very slightly to fix this, but ... 4) Is there enough latitude on the metabones ultra front glass to allow this? 5) Has anyone tried metabones-adapted 35mm glass as the taking lens on Bolex 32/16 or Sankor 16D anamorphic glass for vignetting? On the GH5? Thanks... good luck on you projects.

Here's an anamorphic frame from our spec Star Wars trailer "Beyond The Dune Sea". Shot with Bolex 16/32, Zeiss Contax 50mm on a Sony FS700 and recorded on an Odyssey 7Q. More frames to come. Cinematographer: Mauri Galiano. Forgot to mention that this is also using a Rectilux single-focus adapter for the Bolex.

Maybe it's too early, but like Alien, the original is a thing of beauty that doesn't need remaking nor a sequel. With Aliens we got lucky, but what I've seen of the this trailer doesn't impress me. No anamorphic, no beautiful music, no Rutger Hauer, no poetry. It's almost as if AIs tried to mimic the look and feel without the substance and then screwed up the look and feel. Sadness.

Considering the amount of time and effort for another OS to be designed and develop an application base, that's unlikely to happen. Either Apple pulls their head out of their nether regions or the only alternative to Windows is Linux. Nothing wrong with Linux. It's a great OS, but it would take movement by major application vendors like Adobe and Blackmagic to get together. Maybe if Ubuntu decided to capture the pro market they could be convinced. It's either that or Hackintosh. Someone will undoubtedly take professional advantage of the situation soon.

I'm glad Panasonic is taking their time with the GH5 and I'd rather pay a little bit more ($2000-$2500) to get a revolutionary camera than a simple GH4 evolution. Also it avoids Sony jump-stepping them. The "high assurance" rumors would make a great camera. Icing on the video cake would be 4:4:4 / raw out, VFR out, better VFR quality, seriously improved DR. If they don't have a pro-model anywhere near this price range there are a lot of features they could include for a great all-around camera without cannibalizing their Pro market. Please nail this one to the wall Panny!

When will we arrive at a long-term workhorse camera for $2000 that doesn't let us down in low light and easily drops a high quality 4k 4:2:2 feed internally? Something that doesn't fall apart in various post situations? What I mean is "in the old days" you could depend on a reasonably priced Bolex with anamorphic adapter and good film stock to deliver independent film grade quality for a number of years. Maybe we already have it in the GH4 or are about to get it in the GH5? Right now I think you could shoot judiciously on the GH4 or Sony and get very close with an external recorder. Other than that maybe we have to simply make the leap up to $5k+ cameras and shut up. I'm not trying to say that current $2k cameras and Bolex Super 16 cameras can be made technically equivalent because there's too many variables, just that the more you pay for a camera the longer a useful life you wish it had.

Really nice color there. (Song's not too bad and good singer, but the Casio piano makes my head ache

Of course it all depends on a thousand different factors including the specific sample of the lens you get, but I've found that my Russian Helios 44M, Zeiss Jena 35mm f2.4 Flektogon and Minolta Rokkor 58mm f1.2 are all tack sharp at "reasonable" settings. Maybe you could explain your shooting requirements and environment a little more.

Exotic and beautiful work. Were you using a fast shutter instead of ND on this?