mercer

@Nikkor suggested to me a long time ago that I should get a pocket cam when I was struggling with grading/correcting 8bit footage. I wish I had listened to him sooner. Now that I have my BMMCC, the the robust files are something I couldn't even comprehend when using 8bit 4K. With that being said, I do think one can achieve great results with any 4K camera, I've seen it from a bunch of you guys, but I know I would rather have good solid 1080p than thin 4K.

Wait until you get to fuji 8, 17 and 35 then :D . If you do the measurements it's simply not possible to fit these lenses with no modification to the lens itself.
I know you can, I'm not saying it wont work, all I'm saying is it doesn't look proper and you can't then easily/quickly just unscrew it from the adapter and put it on another camera.

@Nikkor suggested to me a long time ago that I should get a pocket cam when I was struggling with grading/correcting 8bit footage. I wish I had listened to him sooner. Now that I have my BMMCC, the the robust files are something I couldn't even comprehend when using 8bit 4K. With that being said, I do think one can achieve great results with any 4K camera, I've seen it from a bunch of you guys, but I know I would rather have good solid 1080p than thin 4K.

Ill keep them both for a while and pick the best one out, will be getting the samsung today.
Unfortunately, all my friends are photography freaks, so the best I could get is an 5DMk2 Raw, which I might give a try and see if I can postpone this decision further..

@Nikkor suggested to me a long time ago that I should get a pocket cam when I was struggling with grading/correcting 8bit footage. I wish I had listened to him sooner. Now that I have my BMMCC, the the robust files are something I couldn't even comprehend when using 8bit 4K. With that being said, I do think one can achieve great results with any 4K camera, I've seen it from a bunch of you guys, but I know I would rather have good solid 1080p than thin 4K.

4K is not worth giving up a stellar 1080p image for at this point in time (imo).

8mm does for sure, but good luck finding one or modifying it. 9mm wont, it's 2/3 inch.

Thanks so much! 
I actually considered to use text to make it a fake credit sequence :D
Maybe I'll be able to use it for some future scifi movie

C mounts won't focus to infinity on the nx500... I know... I tried.  They are cool macro lenses on it though. 
I don't think there's a list on here for micro 4/3... Other than the c mount list for the BMPCC. Might be a good place to start. Or try Flickr. 

So true. I share the exact same opinion. the race for resolution is somehow a non-sense. For cinema most of the times we deliver in 2k dci standard (flat or scope). So 4k maybe it's good for reframing, digital pans and tilts, but not much more.  I rather  have a camera with good motion color science dynamic range, etc than this resolution race. 
 

BTW, from shooting Leicas the last months I can say I really dig the Voigtlander M lenses.
My favorite by far due the to the quality/€ is the 28mm f2.0 Ultron.

Gets you really broad and nice zones for zone focus with a pretty wide aperture and the focus is buttery smooth.
Not like the 15mm where everything from 0.7m to infinity is in focus at f4.5, but still.
Here is a sample, again using T-Max100.

Hanging Around Down Town by Mattias Burling, on Flickr

C mounts won't focus to infinity on the nx500... I know... I tried.  They are cool macro lenses on it though. 
I don't think there's a list on here for micro 4/3... Other than the c mount list for the BMPCC. Might be a good place to start. Or try Flickr. 

I wear glasses - if I want things smoothed out, I just take them off.
On a serious note, until TV is properly 1080p, I'm just going to stick with a HD TV - 720p upscaled to 1080p looks fine & Blu-Ray is about as sharp as I can handle. Also, 4K TVs are waaaaaay more expensive than HD TVs.
As far as filming things goes, BM Pocket produces one of the best images that I've seen/used for quite a long while (10yrs or so) - it's not about sharpness, never has been, never will be. Look at what most DPs say - they're trying to soften the image & that's for cinema, which you would've thought needed a bigger/better resolution for the bigger screen. So you can take your sharpness and.......
If you buy a 4K camera to re-frame & then downscale to 1080p - what a complete & utter waste of time. Learn to frame/film properly & appreciate the beauty of a great camera. I'd prefer to rent a proper 4K camera with a decent codec, instead of using something with a crippling 8-bit mess.

Fujinon 25mm...

Lens porn?

Fujinon 25mm...

Lens porn?

There's not much content shot with the BMMCC yet. There is tons of very black magic pocket footage however. The color it can produce is just on a different level.

Welcome Michael. Per your example, in 1080p video the crop factor would remain 2x, so your 14mm lens would be 28mm. In 4K, I believe it is a 2.1x or a 2.2x, so your 14mm would be around 30mm. However, I believe there may be a slight, additional crop when IBIS is used, but I am not a hundred percent sure about that.

Thank you for your post and reading 22 pages worth! The GX80 crop is 2.22. Your 14mm will become a 31mm in 4k. In 1080p, it'll a be 28mm.

But seriously, I get it... That is a pretty lens. I have a few I worry about too. 

It doesn't make any sense for an A7rII to be used in this sort of capacity. In addition, the C100 has been out for longer than both the FS7 and FS5. The FS7 is gaining more and more traction every day.
Keep in mind that the NFL were shooting film up until only a few years ago. If you like what you have, and it's reliable and works for you, what incentive is there to change? Plenty of prodcos and owner/operators who bought C100/300s when they came out that see no reason to switch. That doesn't mean something like an FS5 or FS7 isn't just as good a camera. In addition, it's an effort to change from one ecosystem to another, which means unless it's vital to you staying competitive, why would you go to all the trouble to change ecosystems?
C100/300 is a great little camera. So is the FS7 and FS5. Both have their places, and serve their purposes. I hired F55s and F5s for a project I was shooting recently. I didn't want to hire C300s or C500s. Different projects, different people, different needs. Use what works for you and your project. Nothing is gained from camera or brand-bashing. Except you preclude yourself from using a potentially superior product based purely on some zealous brand loyalty.

I still like standard -5/-5/-5/-5, but might give you guys suggestions a try.

Sounds like lots of people really want an updated Pocket Camera with LP-E6 batteries and 60p...
Actually, somewhere on the internet there's a guy who showed that you can use a servo tester for RC planes to make your own controller for the BMMCC (like this). You get 4 channels of analog PWM controls with the expansion port, and if you attach a servo tester to each channel you'll have direct control over each of those settings. Add a LANC pistol grip and you're almost there with what you have in mind.
In fact, you can take the composite video out and send that signal to a little LCD that takes composite, and you can do it all with just the expansion port (Composite out, 4 x PWM channels, and LANC). Find a mechanical engineer friend who has a 3D printer and away you go!
Though having shot the BMMCC for a month now I don't know that I really, really needed anything like that (definitely a "nice to have" rather than a "need to have"). Though I built my micro camera into a camcorder style that's bigger than the GH4 it replaced, because I found that I needed the weight balanced rather than the smallest possible package. It's hard to beat the original Pocket Camera for size if you really need to get under the radar.

Maybe you just found your new shooting style... Infinity focus all of your shots and then wrap it in bubble wrap. No need to touch it. 

The Angenieux are old 16mm film camera lenses from the 60s. I haven't shot with them yet, because I just ordered them, but from what I've seen online, they seem to be a little soft and dreamy wide open, but sharp enough stopped down a little... With an innate filmic look to them on the BMPCC and BMMCC. If you're looking for tack sharp lenses, then they probably aren't a good choice for you... If you're looking for softish lenses with character and a filmic look... Then they might be something you might like. Check out the c mount lens thread under blackmagic cameras for other options and there has recently been a few posts with c mount lenses under the lenses section as well.

Just got the Meopta 20mm c-mount lens in the mail, so I used it in a scene on a short I'm working on. 
 

I was actually out scouting locations when I found this old, abandoned cabin in the woods. For handheld and wide open... I am digging this lens. I think stopped down a notch or two and she will really shine.