richg101

​the sensor is s35 on this so will give you a wider fov than the gh4 from the same lens.  It also sounds like there is a feature which maps the image circle of a lens and crops in to accommodate - since it's a s35mm sensor in a m4/3 mount, maybe this is to accommodate the fact that users might use m4/3 lenses with image circles not capable of covering s35.

a7s.  no external recorder - 1080p is fine. a voigtlander 40mm/1.4  a few 64gb sandisks and a few batteries.

a7s's 1080p internal is better than any comparable priced camera's 4k mode - particularly in situations where equipment is limited and lighting is too heavy to bring.  And that's a fact.  aps-c crop mode with the voigtlander will look like a 50mm f2 thanks to its crazy speed.  

I wonder if they have purchased a load of speed booster ultra's to get the optics from them?  I'd hope so, since Robs ultra is an astounding optic, and assuming it were being used on the kinemax it'll deliver amazing resolution onto that 6k sensor!

lenses will only increase in value.  think of them as money in the bank.  if in debt, sell the lenses.  if in credit, keep them and earn interest.

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I don;t agree.  Since most here (including myself) will very unlikely be drafted in to undertake the sole job of shooting anything of worth without shooting something of worth before hand, those obsessing about gear prior to making a single completed piece of artwork are doing so for no real purpose other than to feed the consumer within (IMO).  I imagine Bob Richardson wouldnt be where he is today if in his early days he had been on forums all day looking for the newest most high dr camera instead of doing work putting him in the eyes of people like Stone in their early years.  If it hadn;t been for his proactiveness in actually making do with what he had, Tarantino wouldn;t have drafted him in for what is the only 'real cinema' being shot in hollywood right now.  For that matter, if Tarrantino had been sat watching NAB coverage instead of writing R Dogs he probably wouldnt be where he is today.  

Almost everyone here will need to write their own piece (and shoot it), and probably edit it, distribute it, etc and make something good before any obsessing about gear is even worth bothering with.  In the current situation it's definitely the ideas men who are king.  everyone can afford to shoot stuff that looks good.  Very few are in a position to be seen and selected to shoot a really really good piece written by someone who has the time and dedication to write stuff rather than putting imaginary equipment hurdles in their way.

i think i'd go for a nex /alpha aps-c camera equipped with an evf in the body and camdiox or similar focal reducer.  and a set of olympus/nikon/canon/pentax manual focus lenses.  35mm/2, 50mm/1.4 and a 85mm/2 .  the evf will make for a really enjoyable still photography shooting style with the old lenses.  the focal reducer will give a similar look to full frame.  unless going for the a7s, the video performance of the a7 and a7r are not much better than the nex5n!  

Personally I feel it might be worth getting a a7s and be done with it.  once you have one, your need for another camera soon disappear.  Unless you have the budget to also invest in some L lenses to take adtantage of a canon dslr for stills (in respect to their af capability) looking at a canon camera for stills and video is madness when the A7s is a better camera in ALL other respects.

give vimeo a 2.5k file (even if it's just uprez'd from a 1080p aquire, and the 720/1080 streaming from vimeo always looks better than if you simply upload a 1080p file.  this is what i have found anyway.

f stops and t stops are not the same.  the sigma may be f1.8, but probably has 3 times as many optical surfaces than the leica meaning (assuming both lenses use the same efficiency coatings) if you set the sigma to f2.8 it won;t be as bright as the leica.  dof should be the same, but there will be a difference in exposure.  It shouldnt be a full stop difference though!

​I've considered the little sony wide angle they sell for the nex 16mm pancake.  not seen the back of it, but might have a big enough element.  the ff38 (dso) works superbly on the B+H but unfortunately this is also a weighty lump

if anything I think they should improve their pay per view infrastructure.  or better still add a pay for streaming system like netflix, but for indy stuff, none of this breaking bad shite.  If they allowed streaming of all of the films not on netflix, I'd pay double what I do for my plus account.  More world cinema, kubrick films (which are not on netflix).  Why is 'The Thing' (1984) not on netflix?  why is Alien not on netflix? etc.  make it a sophisticated film streaming program.  not breaking bad and the rest of the crap the masses go on about.

the resolving power of a lens condensed down into a simple number is a great idea.  industrial cameras are sold in this way, why not high end lenses.  

If a manufacturer is going to sell a camera based on its sensor resolution they should also provide lenses capable of delivering this.  Ie.  Canon will use thier 50+ mpx count of the new 5d as a selling point.  they won;t show the camera fitted with an otus or a schneider/rodenstock digitar + helical.  they'll show it with a Canon L lens, which most are incapable of delivering resolutions that actually warrant the huge file sizes and the premium price Canon will command for the high mega pixel count.  

People use medium format backs of 80mpx for a reason - there are lenses that deliver this resolution onto 56x56mm.  there are few 135mm format lenses that will be marketed alongside the 5dmk4 (50mpx), but the canon consumer will be told their lenses designed and capable for 35mm film will still meet the demands of pixels sizes smaller than 100iso film grain.

Everyone knows that there is more to a lens than resolution.  but if a consumer is buying a camera sold with its megapixel count used as a selling point then they should be made aware of their options.  It's like selling a Ferrari based on its ability to go 300mph using a new type of fuel, a fuel not yet developed.

wish your project had come to fruition Nick.  Would have been great - particularly as a single focus bmpcc anamorphic!  Make sure you keep one for yourself, if i ever get some time i might make a few replacement front cells with courser threads since i really want my own b+h to be more usable.

unfortunately that mount wont fit in any eos-pl adaptor.  however if the pl mount unscrews you might be able to get a machinist to put it on a lathe and remove some of the length of the pl mount.  

it looks like the mount is about 11mm before it tapers.  you want that to be just under 7mm before the taper.

id say that you might also have mirror problems once you get it fitting into the adaptor.  in which case you'll need to lok the mirror up before attaching the lens.  

i'd say a pre owned bmpcc and a pre owned speed booster.  if you can find a good deal on the 0.54x bmpcc speed booster that wouod be ideal, but the 0.64x bmcc unit is almost as good in terms of speed increase.

add to that a suitable fast 40mm or 50mm and you're good to go.  a cheap 50mm/1.4 from oly/nikkor/canon/pentax etc will be very very fast onto the pocket, and shooting 800iso (or even 1600) will provide very good low light performance.  

otherwise, you could maybe put the money towards a fast c mount lens or voigtlander 25mm instead of going the speed booster route.  you might get some noise from the bmpcc, but once you remove 'colour noise' in raw it looks real nice IMO.

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this is the PL mount i manufacture for the TRUMP lenses.  and it's specifically designed to work with eos-pl adaptors.  if the back of your lens looks close to this it will work.  the step is very important since the eos-pl adaptors get thinner towards the camera side.  off the top of my head I think the length of the pl mount after the ears is 7mm, then it steps to the thinner diameter.  if your lens has a bigger rear on its PL mount you might need a new remounting, or have your canon hard mounted to PL - which removes the ef mount of the camera all together

No Probs man.  I love you too xxx

have a try of removing the little screw on the side of the blue ring.  this will allow you to unscrew the ring and see if the lens will seat onto the black part.  if it does, you might get away with filing down the internal ears on the blue part so they allow the lens to seat onto the black part.  as said, I think the orientation pin on the unit you have is incorrectly positioned on the mount meaning the anamorphic wont be perfectly aligned horizontally.   It would appear that they messed up the thread of the blue and black part meaning in order for the ears to bite down onto the lens mount, the pin needed to be positioned in a different place.  

obviously, if the lens seats nice and snug onto the black part, you know the ciecio7 adaptor will work.  and if not, you'll just need to file away some of the locking ring on the ciecio7 unit assuggested for the one you have atm.

​digital bolex plus metabones bmpcc speed booster (which has a transmission gain of 1 and 2/3rds of a stop increase. and turns the iso of the d bolex from 500 up to almost 1600.  if you can;t light a big space with your budget, shoot in a smaller one.  16mm is not a format for a big space.   the codex action cam, the onecam, and the si2k all use the same sensor as the dbolex, and none of them provide an all in one affordable package like the d bolex.  ]

you;re preaching to the choir when trying to sell cameras with bigger sensors for low light.  what you fail to consider is that the difference of 1 stop between the bmpcc and the bolex is a drop in the ocean when you factor in how much nicer a monochrome kodak sensor will look compared to the bmpcc sensor in good light.

the unit you have is maybe the worst available.  However if your lens wont even seat into that adaptor it probably wont fit any eos-pl adaptor.  It doesnt look like the work of RAF.  it looks like they fashioned that pl mount by hand -it's certainly not been made on a lathe!

the ciecio7 unit is the best value for money while being very close to true PL mounts manufactured by Arri however I'd hazard a guess that you lens wouldnt even fit a real arri camera.

the main problem with your adaptor from jie ying is that they havent placed the orientation pin in the correct position meaning the anamorphic wont be aligned correctly from the start.  other than that, as long as the back of your lens falls within the parameters listed in this listing, http://i1183.photobucket.com/albums/x474/henrykborsuk/pleosbagnetwymiary.jpg

 there shouldnt be a problem - the lens should at least seat into the adaptor you have.  if the pl mount on your lens is bigger than the dims on this image, no eos-pl adaptor will work with it.

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It's unfortunate that so many of the replies here come from a spec sheet formed opinion.  I personally couldn't afford to invest in this camera, however if i were an artist/film maker who values the benefits of true monochrome, or one who's art practice is purely in b+w this is definitely the cheapest option.  It's sad that so many seem to compare this to the bmpcc and the currently not released bmmcc.  It's also sad that it seems ISO's are more important than image quality to strong mouthed eoshd-ers.  Rag the hell out of a b+w sensor and i imagine the grain is rather pleasing - as it is when you rag monochrome film.  it;s only colour noise that looks nasty.  film grain looks lush      

​Consumers who dream of being one of the few genuinely creative people like to continually wish for better equipment because it gives them a justification for not producing anything until they have the right gear.   I've always felt the need to produce more than I consume.  If I'm not 'making' I feel annoyed, like an itch that needs to be scratched.  Around a year ago I was worried I;d turned into a consumer.  Then the A7S came along and my craving for gear disappeared over night.:)  - I feel enlightened

​I don;t fall for consumer selling techniques very easily.  Sony and the bloggers will tell me my A7S is redundant and to buy the new model.  The gear heads will tell me my A7S is redundant and that I should buy the new model, I'll be outside shooting with my redundant camera and doing fine.

The A7S doesnt need an upgrade.  for the money it's the perfect camera.

how much vignette is there at 18mm?  

​They're all afraid of doing things properly.  Business men who see everyone talking about anamorphic and think they can make a quick buck without understanding why people shoot anamorphic in the first place.  

​it's an awfully large lump for such a tiny front element.  they claim it's for use on their fast s35mm primes, but that element aint big enough to do that.  then they select 1.33x.  

I'm not afraid of 2kg, if it does more than a isco54 - ie, is sharp at f1.4, full frame, single focus, allows 50mm or wider taking lenses on full frame.  Unfortunately it looks as if it;s gonna be another pointless lens that the uninformed owner operator buy thinking it will make their work look more cinematic.  Then they'll slap a 'cinema lens' price tag on it.

LOMO don;t need to return.  They did all they needed to with the square fronts and round fronts.  why do these companies always miss the point, reintroducing something but in a watered down boring way?

i'd sooner shoot spherical and crop than this.  no anamorphic aesthetic what so ever.   not only that, but the anamorphic section appears to be delivering rather nasty degradations onto the image.  cropping a decent 2x image and losing sensor resolution is better than feeding the entire sensor with a crap image.

Yet another lens designed and manufactured without any care being taken to understand the reason why people want to shoot anamorphic.