assedrtyiilt

Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing.
 
I will only add lenses to the lists when you have proof, in other words: images.
 
How?

Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC.
 


In Photoshop:
Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm!

To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it.

List terms explained:

Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera
No = doesn't cover the sensor
Needs modification = Doesn't fit on C-mount to M43-adapter without modifications
Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example)

Blackmagic Pocket Cinema Camera Compatibility list

Primes
 
Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof]
 
Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info]
 
Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info]
Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof]
 
Century 9mm f/1.8 - YES (poor quality) [link to proof]
 
Computar 8mm f/1.3 - NO [link to proof]
Computar 16mm f/1.4 - NO [link to proof]
Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof]
 
Cosmicar 8,5mm f/1.5 - NO [link to proof]
Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof]
Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof]

Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof]
Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof]
 
Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof]
Fujinon TV 16mm f/1.4 - NO [link to proof]
Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof]
 
Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof]
 
Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof]
 
Nikon Cine Nikkor 13mm f/1.8 - Yes =  37,5mm f/5.2 [link to proof]
Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof]
 
Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof]
 
Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof]
Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof]
Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)]
Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof]
Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof]
 
SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD)
 
Tokina TV Lens  8mm f/1.3 - NO [link to proof]
Tokina TV Lens 16mm f/1.6 - NO [link to proof]
 
Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof]
Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof]
 
Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof]
 
Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof]
Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof]

$ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof]

Zooms
 
Ernitec 6-12mm f/1.4 - NO [link to proof]
 
Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]

Hello,
 
I have been experiencing a problem every so often with my relatively new GH2 in which I will see this strange red line going across the frame.  Please see the attached image for a visual reference (in this still the line is on the upper third of the image if you are having trouble finding it).
 
This line moves about and varies in width and position, depending on how the camera moves.  The problem seems to occur out of nowhere, although I haven't seen it enough times to say that for certain, and seems to also go away on it's own.  It hasn't wrecked any shots for me yet, but it's not good and I was wondering if anyone else had a similar problem.
 
I had some work done on the camera recently and I'm wondering if in the process of this job the sensor may have been damaged in some way.  The camera is NOT hacked. 
 
Thanks for your time.

Finally bit the bullet and put my order in for the SmallHD AC7 inch LCD (cheaper version).  They have a bundle sale going on right now.  I paid $749.00.  http://www.smallhd.com/
 
I didn't go with the OLED.  Maybe I should have spent the extra $300 for the OLED?  But then again... http://www.extremetech.com/computing/148266-apple-ceo-blasts-oleds-as-inferior-tech-independent-research-shows-he-has-a-point
 
 
 
 
 
 

Hello!
As a student currently learning about imaging, I think the best RAW start up camera would be the Pocket camera. (I have past experience too, but handy-cams and after effects don't look too professional).
 
I am still confused on the best lens for it would be. I am interested in the look that a 24mm gives to a full frame sensor, but don't know how that compares to the crop factor (I heard it's 3x), and the fact that it's a super 16 sensor. It seems like it's basic math, but I'm unsure.
Researching these forums, I see recommendations for this site: http://www.abelcine.com/fov/
but that doesn't answer my question.
If I can figure out the basic math to my problem, I can choose the right lens to get the 24mm, 50mm, etc. look from a 35mm sensor.
 
Would I need a higher, 50mm lens, to get the wide angle look of 24mm, on this camera? Or would I need to go even lower, 8mm to get around a 24mm look?
 
Here's an example of the "look" I'm going for with my future Blackmagic Pocket Cinema Camera:
http://www.pixel-peeper.com/lenses/?lens=567
That example is a 24mm (wide angle) lens, mostly on full frame cameras. The 3rd image catches my eye in particular.
I'm interested in wide angle for music video production.
And yes, those are from a prime lenses, as they are the sharpest, I want the most clarity I can get, and do any distortion in post.
Any help/advice would be appreciated. If I've made any mistakes in my research, PLEASE correct me.

A 18-35mm zoom (for aps-c-sensors) with a constant aperture of f/1.8? Sounds unlikely, Sigma just did it!
 
http://www.sigma-global.com/en/lenses/cas/product/art/a_18_35_18/features.html

 
This will be sweet on a Nikon D5200/D7200 (or Canon aps-c-camera, if you insist :))
en the MFT Speed Booster arrives, it will be awesome on the GH3 and pretty cool on the BMPCC aswell...
 
With the recent 35mm f/1.4 Art and 30mm f/1.4 DC Art Sigma showed great performance. Hope this 18-35mm f/1.8 lives up to it.
 
Price? No idea. Not cheap... but the excellent Sigma 35mm f/1.4 Art is relatively cheap compared to the competition. I think €1000 would be a pretty good price for this zoom. Could be a bit more...

I've been trying to preview Alexa Plus footage in Rec709 while editing, using LUT Buddy from Red Giant and the LUTs on the Alexa web site, but no matter what I do it crashes or fails in Premiere CS6.
 
Is this buggy thing the only way to use LUT in Premiere? AE has a plug-in built in, but round tripping for a look at the edit stage is not a workable system. This seems to be a bit of a shortcoming in the software TBH... a reliance on a third-party plug-in that's never been updated!
 
The more people use Cinestyle and other log style setups, the more LUTs become useful, this is quite an annoyance...

What recommendations do you guys have for budget Super 16 lenses for the new BM Pocket Cinema camera? I'd like to start doing some hunting on Ebay, but I really don't know what to look for!
 
I'm a big fan of fast lenses for doc-style run-and-gun shooting and I also really like wide lenses for the great landscapes I have here in Phoenix! 

I am interested in doing more video, but feel very restricted by my cheap sanyo camcorder. I have a Sony a200 for still photography, and have managed to accumulate 1 sony and 3 minolta lenses. I don't have a wide angle lense, or a telephoto bigger than 300mm (35mm equivalent), but being able to use those lenses and having manual control of the camera would open the door to a great many more possibilities.
 
So: how good are current sony dslr's for video? I was eying the a57, which seemed to be able to do both still photos and video quite nicely.
 
But on the other hand, with the new blackmagic camera coming out, maybe it would make sense to save up longer and get that. Micro four thirds seems to be the lense mount of the future, and it would be nice to feel my lenses will be useful on future equipment. There is an adapter to convert the A mount to the E mount, but I have failed to find any which would adapt it to MFT..... dropping $1k for the camera alone would be a real stretch financially, I don't know how viable that option would be if I had to purchase new lenses for it as well....
 
Anyway, anyone have experience with the sony dslrs for video? 

It would be good if Nikon entered the game as well. I remember sending them email once explaining to them that they should make a proper video DSLR. That was around when 5DII was launched.
 
Should the Nikon 1 system be used as a video camera platform the let down atm would be from Nikon perspective the lack of pro lenses for the 1 system that are made by Nikon.

Today sees the announcement of a new DSLR sensor from one of Nikon's recent sensor supplier's Aptina which has a headline spec of 4K video at up to 80fps.

The highly rated company says it is 'combining DSLR image quality and 4K digital cinema' with the new AR1411HS sensor. Along with Nikon being on the record for wanting to add 4K video to future Nikon 1 mirrorless cameras, could the new Super 16mm sized Aptina sensor pave the way for them to do a Cinema EOS style range and 4K on DSLRs?

[url=http://www.eoshd.com/content/10158/could-nikon-be-about-to-enter-digital-cinema-market]Read the full article here[/url]