Anyone with BMPCC and Isco Animex (S8, 2x)? How wide can I go?

[redimp]

As I am awaiting for my anamorphic lens, I've decided to choose a set of taking lens, and I have a bunch of options, but would like to know how wide can I go. 

There is a wonderful russian 16mm cine set that I can get for $150 with zoom and three primes. Zoom is 17-69 f1.9, Primes are 12,5 f2, 20 f2 and 50 f2.

Would I be able to use those primes with Isco on BMPCC? Common sense tells me 12,5 is going to be too wide, but I want to be sure. 

Also there's a german set (pentaflex 16mm cine lens). Also zoom and three primes, I've got an offer of $530 for a set and compared to ebay it super cheap, so I'm tempted, but again not sure if they will work. Zoom is 15-60, f1.8, Primes are 12.5 f2.8, 25 f 1.4 and 50 f1.4. All are Zeiss lens, so I am pretty sure they will beat russians in terms of quality but also being vintage will have character. 

So how wide can I go? Thanks guys, it will really help me choose.

[Bioskop.Inc]

As I am awaiting for my anamorphic lens, I've decided to choose a set of taking lens, and I have a bunch of options, but would like to know how wide can I go. 

There is a wonderful russian 16mm cine set that I can get for $150 with zoom and three primes. Zoom is 17-69 f1.9, Primes are 12,5 f2, 20 f2 and 50 f2.

Would I be able to use those primes with Isco on BMPCC? Common sense tells me 12,5 is going to be too wide, but I want to be sure. 

Also there's a german set (pentaflex 16mm cine lens). Also zoom and three primes, I've got an offer of $530 for a set and compared to ebay it super cheap, so I'm tempted, but again not sure if they will work. Zoom is 15-60, f1.8, Primes are 12.5 f2.8, 25 f 1.4 and 50 f1.4. All are Zeiss lens, so I am pretty sure they will beat russians in terms of quality but also being vintage will have character. 

So how wide can I go? Thanks guys, it will really help me choose.

So, without a RJ focal reducer (just the plain s16-ish sized sensor) the widest lens i've got is a 24mm & no vignette. Sorry, I don't have a wider lens than this but I think that you could go wider than 24mm, but just don't know how wide.

With the RJ focal reducer (makes the sensor a crop of about x2), a 35mm has a slight vignette.

Also, you must remember that its a S16 sized sensor & not a 16, so you might have a problem with the v.wide lenses - test before you buy, if you can.

And yes the Zeiss will be better quality, but the Russains will have more character.

[redimp]

So, without a RJ focal reducer (just the plain s16-ish sized sensor) the widest lens i've got is a 24mm & no vignette. Sorry, I don't have a wider lens than this but I think that you could go wider than 24mm, but just don't know how wide.

With the RJ focal reducer (makes the sensor a crop of about x2), a 35mm has a slight vignette.

Also, you must remember that its a S16 sized sensor & not a 16, so you might have a problem with the v.wide lenses - test before you buy, if you can.

And yes the Zeiss will be better quality, but the Russains will have more character.

This is super helpful! Thank you!

[Bioskop.Inc]

This is super helpful! Thank you!

Whilst looking for something else, I found this thread, on Cinematography.com, that talks about shooting Anamorphic on S16mm film & about half-way down this comment pops up:

"the Kowa 16H and Moeller Anamorphics might be appealing. The focal length starts somewhere at 25mm on these lenses. When you have a S16 gate the right squeeze for scope would be 1.33 so you could also try this or similar stuff from Century. The best choice between trashy 50s glass and video adaptors could be a Iscorama 1.5x with a 54 rear diameter. "

Here's the link for the thread:

http://www.cinematography.com/index.php?showtopic=45187

Now, with an Iscorama 54 you can go wider than nearly all the other anamorphic adaptors.

But with this S8/x2 I think its safe to say that 24mm will be the widest on the BMPCC - you could try to find a cheap 20mm & try that.

[redimp]

Whilst looking for something else, I found this thread, on Cinematography.com, that talks about shooting Anamorphic on S16mm film & about half-way down this comment pops up:

"the Kowa 16H and Moeller Anamorphics might be appealing. The focal length starts somewhere at 25mm on these lenses. When you have a S16 gate the right squeeze for scope would be 1.33 so you could also try this or similar stuff from Century. The best choice between trashy 50s glass and video adaptors could be a Iscorama 1.5x with a 54 rear diameter. "

Here's the link for the thread:

http://www.cinematography.com/index.php?showtopic=45187

Now, with an Iscorama 54 you can go wider than nearly all the other anamorphic adaptors.

But with this S8/x2 I think its safe to say that 24mm will be the widest on the BMPCC - you could try to find a cheap 20mm & try that.

That is definitely interesting. I was hoping that 20 would work, and therefore I was going for a russian set, but this being said I think I might as well go for Zeiss. 

 

I hunted two dirt-cheap Vega lens (20, f2), in c-mount. I guess I will buy one and just try it out before going for Zeiss. 

 

Thank you.

[Bioskop.Inc]

That is definitely interesting. I was hoping that 20 would work, and therefore I was going for a russian set, but this being said I think I might as well go for Zeiss. 

 

I hunted two dirt-cheap Vega lens (20, f2), in c-mount. I guess I will buy one and just try it out before going for Zeiss. 

 

Thank you.

Do check (google) because I do remember that the very widest of those C-mount lenses vignettes on the BMPCC - think 20 should be fine, but double check to be certain.

[redimp]

Do check (google) because I do remember that the very widest of those C-mount lenses vignettes on the BMPCC - think 20 should be fine, but double check to be certain.

I already ordered that one, since it was $10 with delivery.

[Bioskop.Inc]

I already ordered that one, since it was $10 with delivery.

When you use it with the S8/x2, if it does vignette you can always crop the sides off - I've done it recently to get a more acceptable 2.39:1 ratio & its still a full 2k Anamorphic Cinema sized image.

[redimp]

When you use it with the S8/x2, if it does vignette you can always crop the sides off - I've done it recently to get a more acceptable 2.39:1 ratio & its still a full 2k Anamorphic Cinema sized image.

Thanks for all the advice. I don't know if you understand how helpful you are, actually 

Both taking and anamorphic lens are days away now. I will definitely test it myself and post the results here, for future generations 

[redimp]

So, without a RJ focal reducer (just the plain s16-ish sized sensor) the widest lens i've got is a 24mm & no vignette. Sorry, I don't have a wider lens than this but I think that you could go wider than 24mm, but just don't know how wide.

With the RJ focal reducer (makes the sensor a crop of about x2), a 35mm has a slight vignette.

Also, you must remember that its a S16 sized sensor & not a 16, so you might have a problem with the v.wide lenses - test before you buy, if you can.

And yes the Zeiss will be better quality, but the Russains will have more character.

So the Vega lens does not vignette on it's on on BMPCC and produces usable results. Spent a couple of days with it and except a stiff focusing ring I am loving it.

However with Isco attached it has an enormous vignette. One of the reasons as I am guessing is that I cannot get it to touch the lens, since the barrel protrudes so much that the lens is "hidden" inside the body. Other reason is of course 20 mm being to wide. 

I've just tested with canon zoom lens attached via regular adapter (no speedboosting) to the BMPCC and the vignette goes away about 28mm, and so I have a question – which 24 mm lens did you use with bmpcc that it did not vignette?

Spent 5 min with isco and will have to play with it more with other lens. 

I understand that fields of view differ for same focal length lens from different manufacturers ever so slightly, but just want to figure out how much exactly.

 

Thanks.

[Bioskop.Inc]

So the Vega lens does not vignette on it's on on BMPCC and produces usable results. Spent a couple of days with it and except a stiff focusing ring I am loving it.

However with Isco attached it has an enormous vignette. One of the reasons as I am guessing is that I cannot get it to touch the lens, since the barrel protrudes so much that the lens is "hidden" inside the body. Other reason is of course 20 mm being to wide. 

I've just tested with canon zoom lens attached via regular adapter (no speedboosting) to the BMPCC and the vignette goes away about 28mm, and so I have a question – which 24 mm lens did you use with bmpcc that it did not vignette?

Spent 5 min with isco and will have to play with it more with other lens. 

I understand that fields of view differ for same focal length lens from different manufacturers ever so slightly, but just want to figure out how much exactly.

 

Thanks.

I used the Nikon 24mm f2.8, but i suppose any 24mm will do - just make sure that the front element on the taking lens isn't too large for the anamorphic's rear (I know that this is difficult, because its so small, but see what you can do). I'll double check to see if i'm wrong, as you can get more vignetting the more you stop down the taking lens.

Also, you don't have to get it that close to the taking lens - you only do this to cut down on any anamorphic characteristics, which aren't to everyones taste.

Don't worry too much about field of view.

Just remember, without any focal reducer:

24mm x 3 (sensor crop size) = 72 (or 72mm field of view)

72 divided by 2 = 36 (the new anamorphic field of view).

[redimp]

I used the Nikon 24mm f2.8, but i suppose any 24mm will do - just make sure that the front element on the taking lens isn't too large for the anamorphic's rear (I know that this is difficult, because its so small, but see what you can do). I'll double check to see if i'm wrong, as you can get more vignetting the more you stop down the taking lens.

Also, you don't have to get it that close to the taking lens - you only do this to cut down on any anamorphic characteristics, which aren't to everyones taste.

Don't worry too much about field of view.

Just remember, without any focal reducer:

24mm x 3 (sensor crop size) = 72 (or 72mm field of view)

72 divided by 2 = 36 (the new anamorphic field of view).

Thanks. I get the math, but my 20 vignettes so bad, that it does not look like Zeiss 25 would not. It is small front element lens too, but I think the angle of view is what matters here.

Will try to disassemble the barrel to get the Isco closer to front element of russian lens.

 

[Bioskop.Inc]

Thanks. I get the math, but my 20 vignettes so bad, that it does not look like Zeiss 25 would not. It is small front element lens too, but I think the angle of view is what matters here.

Will try to disassemble the barrel to get the Isco closer to front element of russian lens.

 

My bad it has a very slight vignette on the Nikon 24mm wide open at f2.8 & gets worse the more you close down the aperture. I think i did my last test in bright sunshine, but once the sun went down it seemed to become a lot more noticeable - but its a slight vignette @ f2.8. However, it could easily be cropped out, even if you stop down the taking lens to f5.6 - this isn't really a problem, as i don't think anyone is mad enough to present a x2 anamorphic image on 16/9 sensor to its absolute untouched unsqueezed image capacity of 3.55:1.

So a 25mm @ f2.8 should have no vignette, but will vignette the more you stop down the taking lens.

A safe bet would be a 28mm taking lens.

Having a look at the Nikon 24mm f2.8, is that the lens cavity is exactly the same width as the Isco - the front element is the same size as the filter 55, but when you look into the lens all the other elements are smaller.

You've got to remember that this lens is for Super 8 & not Super 16.

[redimp]

So I decided to go with 32mm 1.4 lens and this is the first footage I managed to make. The taking lens flares so much that it's hard to spot the flare from ISCO, plus isco itself flares not that much. No vignetting on 32 mm, so I'm happy.

https://www.youtube.com/embed/hYczBnFbfyQ

[Bioskop.Inc]

So I decided to go with 32mm 1.4 lens and this is the first footage I managed to make. The taking lens flares so much that it's hard to spot the flare from ISCO, plus isco itself flares not that much. No vignetting on 32 mm, so I'm happy.

https://www.youtube.com/embed/hYczBnFbfyQ

Wow! Yours doesn't flare?!

So is this the difference between the Iscomorphot S8/x2 & the Animex branded version?

Shame, but still produces nice images.

[redimp]

Wow! Yours doesn't flare?!

So is this the difference between the Iscomorphot S8/x2 & the Animex branded version?

Shame, but still produces nice images.

Maybe it's because of the lens that flares so much, but yeah, if you look closely at the sample video you'll see that cars make just 1 or 2 anamorphic streaks and that's it. They are pale, almost white and super thin and short.