"While it's often called the nifty fifty, once you get it on APS-C (or Super 35mm) sized sensors, it's a lot less exciting as the focal length is a bit more telephoto."
Come one Joe...seeing stuff like this on this site really frustrates me. First off Joe you know better. The APS-C sensor might affect the angle of view but it by no means makes this lens any more or less telephoto than 50mm. A 50mm is a 50mm no matter the sensor size (16mm,35mm,70mm, m4/3, APSC, full frame). The angle of view might change but not the focal length. The angle of view you'll get with this lens on an APSC DSLR is basically the same angle of view you'd get with any 50mm on an Alexa, or MX sensor RED, or a 35mm motion film camera. Its 2015 guys. This whole crop factor misinformation needs to stop. It is poor info in blogs like this that started it in the first place. Blogs like this need to be the ones to fix it.
Was no one pulling focus on this? I'm only about 45 seconds in and not a single shot in focus. Hey DJI if you need a focus puller. Hit me up.
This lens has a 1.45 squeeze. so a 35 anamorphic lens with that squeeze will give you an angle of view roughly equal to a 24mm spherical lens.
You can't really talk about it in terms of aspect ratios like you have above. That only affects the shape of your frame not how wide your angle of view is. If you are shooting 16x9 (or 2.39:1 or 1.85:1 or any aspect ratio) that doesn't affect you angle of view. It's never going to change even if you go from a 18mm to a 200mm your aspect ratio won't change. You need to think in terms of angle of view. That is the main thing that will change going from spherical to anamorphic regardless of your aspect ratio or sensor shape.
True it might be optional but given black magic's previous pricing structure I doubt it'd raise the price by more than a thousand dollars. You can see the BM logo on it in the Twitter pics so I know it's not a 3rd party add on. I don't think this puts black magic in the evf business anymore than Arri or Sony or AJA (or any other camera that comes with a viewfinder like all cameras should). If BM can make a 10 inch 1080p flip out screen why not an evf? The real question is what resolution and tech will be in that viewfinder.
Most anamorphic glass (pre 90s) is slower than a typical prime lens so this seems about right. If your concern is shooting in low light anamorphic probably isn't for you. I can't picture too many run and gun type projects that would benefit from anamorphic lensing. Just light your film. Problem solved.
If you're worried about shallow depth of field then anamorphic is already working for you. The 2x squeeze means your vertical is the same but your angle of view is twice as wide. Therefore you use longer lenses making your dof seem shallower. This lens will give you the same vertical angle as a 25 but will give you a horizontal angle of view closer to a 12.5mm. That would make this probably the widest lens in the set so you are usually shooting twice as long (focal length wise) with anamorphic than with spherical glass giving you an appearance of shallower dof.
"Of course, despite the fact that APS-C is the closest size to what cinema is traditionally shot with, the Canon 5D's massive popularity in the late 2000s had some interesting effects. For one, it sewed into the collective consciousness of a new wave of DSLR filmmakers the idea that full frame is the standard frame size for all cinema applications. Instead of viewing APS-C cameras as the modern equivalent to motion picture 35mm film (at least in terms of frame size), DSLR filmmakers starting comparing everything to full frame. All of the sudden, APS-C cameras had a 1.6x crop factor, and that was inherently a bad thing."
Robert im not sure if your post was in agreement with mine or not but everything you said in that article seems to support what i said. I think this site needs to run that article in full before any other article about lenses in the future. Because of this site and cinema5D etc etc there is a whole generation who thinks 35mm full frame is the standard for motion image capture and joe's comments above arent helping solve the problem.
Just look at the post above mine where the poster is using the term "full frame lens" as if that has an effect on focal length instead of realizing that the only thing that makes a full frame lens different from an apsc lens is its rear element is larger to cover a larger sensor. And also ive shot a lot of 35mm and 16mm and fully understand the difference between an academy aperture gate and a super gate. But that doesnt mean a 50mm is an 80mm on an Arri 435 or a panavision millenium. When you are shooting super16 no one is walking around saying "that 25mm is actually an 80mm because of the crop factor".