David Mullen ASC
Moderator
One thing is that if you are framing for cropping to 2.40, then your cine glass doesn't have to cover the FF35 sensor from corner to corner. So I could see shooting a 2.40 movie on a 6K FF35 Epic... and the truth is that the depth of field problems would be about the same as shooting anamorphic 35mm.
As for a 16mm FF35 cine lens, that would be similar to 10mm lens in Super-35... and you have to ask how often filmmakers shoot scenes with a 10mm lens. It happens of course, Kubrick did a lot of cool shots in his movies with a 9.8mm Kinoptic (the snow maze chase in "The Shining", the record store in "Clockwork Orange"), and commercials use extreme wide-angle shots like that because they are stylized and dynamic, so there would definitely be a need for a 16mm FF35 lens, but it would naturally be a low-seller compared to the normal range of focal lengths due to its extreme wide-angle view.
Even Terry Gilliam movies, with their extreme wide-angle photography, are working in the 12mm to 18mm range in Super-35.
As for a 16mm FF35 cine lens, that would be similar to 10mm lens in Super-35... and you have to ask how often filmmakers shoot scenes with a 10mm lens. It happens of course, Kubrick did a lot of cool shots in his movies with a 9.8mm Kinoptic (the snow maze chase in "The Shining", the record store in "Clockwork Orange"), and commercials use extreme wide-angle shots like that because they are stylized and dynamic, so there would definitely be a need for a 16mm FF35 lens, but it would naturally be a low-seller compared to the normal range of focal lengths due to its extreme wide-angle view.
Even Terry Gilliam movies, with their extreme wide-angle photography, are working in the 12mm to 18mm range in Super-35.
