I think it is rather humorous that over the last while everyone has been clamoring for telephoto shallow focus solutions for video cameras, and as soon as someone builds one, everyone starts complaining about lack of wide angle. Compared to what? Yes there are super wide lenses for full frame stills for shooting big group interiors, but guess what we are movie shooters and can move the frame to take in the shot.
Our frame of reference if you want to talk crop factor should be the 1/3" cameras we've worked with for years. The widest standard zooms for these cameras is 4-4.5mm or 16 - 18mm in 4/3 format. You can't adapt much wider than that without introducing barrel and fish-eye distortion.
If you've been working with consumer cameras like the canon hv20 type the wide end is 6mm or 24mm in 4/3, again you can't go much wider without distortion.
All of the standard zooms in m4/3 start at 14mm which is already wider than any video camera you've ever used. Add the 7-14mm and it will blow your socks off. Yes at f4 it is a bit slow, but consider the pains we have gone through to shoot hv20 with no gain, f2 at maybe 100asa, that would be f4 at 400, if the cam is clean at 800 - 1600 it is a non issue, if so turn a light on.
On my 16mm kit the widest lens I have is 10mm and I've never had trouble getting a shot, that should have a FOV similar to the 20mm pancake, which at f1.7 should be more that fast enough to cover the dance at a wedding reception.
If You've ever read American Cinematographer Magazine, you'll see that most every shot in every movie you see is 25mm or longer. 18mm is typically the widest standard lens. The prime kits do go down to 12mm but lenses that wide are a speciality item. 10mm on a movie really stands out, there are only a handful of shots in Hollywood history that have used it, and if you saw it, you knew it.
Our frame of reference if you want to talk crop factor should be the 1/3" cameras we've worked with for years. The widest standard zooms for these cameras is 4-4.5mm or 16 - 18mm in 4/3 format. You can't adapt much wider than that without introducing barrel and fish-eye distortion.
If you've been working with consumer cameras like the canon hv20 type the wide end is 6mm or 24mm in 4/3, again you can't go much wider without distortion.
All of the standard zooms in m4/3 start at 14mm which is already wider than any video camera you've ever used. Add the 7-14mm and it will blow your socks off. Yes at f4 it is a bit slow, but consider the pains we have gone through to shoot hv20 with no gain, f2 at maybe 100asa, that would be f4 at 400, if the cam is clean at 800 - 1600 it is a non issue, if so turn a light on.
On my 16mm kit the widest lens I have is 10mm and I've never had trouble getting a shot, that should have a FOV similar to the 20mm pancake, which at f1.7 should be more that fast enough to cover the dance at a wedding reception.
If You've ever read American Cinematographer Magazine, you'll see that most every shot in every movie you see is 25mm or longer. 18mm is typically the widest standard lens. The prime kits do go down to 12mm but lenses that wide are a speciality item. 10mm on a movie really stands out, there are only a handful of shots in Hollywood history that have used it, and if you saw it, you knew it.
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