rick.lang wrote:I'm feeling the financial crunch too as the additional APO primes are significantly more than I expected. A bargain though compared to the 1.33x ANAMORPHOT CINE primes. I wanted all six APO primes, but not sure now unless they are released one lens every six months (that's how long it would take me to save up for it).
Rick; but a 25mm lens, on a sensor with the quality of the URSA mini, can function as anything from a 25mm to a 60mm, if you deliver in 2K. From what I've seen windowed 2K raw is perfectly alright; you'll get all the different angles of view and lens perspectives by changing the resolution and frame overlays. Might not be ideal, but less expensive, and the drawbacks are probably compensated for by a few benefits. And since you already have the 50mm, you'll be fine all the way to 120mm S35 equivalent. A single prime lens really could function like a kind of zoom lens, or rather, the sensor like a "zoom sensor", couldn't it? I'm sure someone's gonna say, "No that's not how it works" (especially the part about the lens perspective...), but isn't it, really? Probably would't be advisable on a Hollywood set, though. But they do use the BMPCC and BMCC for certain shots on Hollywood movies, without anyone noticing when they see the finished film.