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Super 16 Lenses for Pocket Cinema?

Ben Prater

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The starting lens I was thinking for the BM Pocket was this one:




Any comments for or against it?


Anything close/better in price and/or quality to recommend?


Not in S16, but in plain 16, perhaps one of the best deals in lenses was the Angenieux 9.5-57mm. I think someone did try it in the Panasonic GH2, but I'm not sure if people are using it.



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I have a set of these they are great Russian lenses made by KMZ who make the Helios TAIR-41 VEGA-7-1 MIR-11 From KIEV-16U camera   Vega-7-1: focal length: 20mm relative aperture: F/2 field

Is there any chance that the 1 Nikkor lenses work ? They're made to fit CX sensor (13.2 x 8.8mm2), which are pretty similar to the BMPC one (around 12.5 x 7.4mm) ? I don't know anything about the 1 Nikkor lens, just hunting the good lens for the BMPC on the Internet.




I don't put too much hope on that, because there is no manual focusing on the 1 Nikkor...

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Apologies for bringing up an old thread.


I am looking at shooting a short and the BMPCC along with an Arri 11-110mm (S16) Lens is available for a decent rate (rental)


Most of my scenes are indoors and only 1 scene is INT. DAY. Now I have lighting available and will also be compositing using after effects onto a tablet that the main character uses throughout. Will this be a good combo? I will have an experienced DOP shooting this.


The aforementioned lens is pictured below.


I will also get an Arri Zeiss 8mm T1.3 as part of the package. The other option is a 5Dmk3 (NO RAW) with a 16-35, 24-70, 70-200mm. Which do you think will be better? 

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Guest Ebrahim Saadawi

A Pocket cinema camera with an Arri master zoom and a 85mm 1.2 Zeiss would definitely give a much more interesting aesthetic than the popular h.264 5D + L lenses seen everywhere. It depends on the look you're going for but since this a short, in controlled situations where you have lights and a good DoP, all the BM disadvantages are not relevant. It produces a much more filmic/cinematic image. The only reason to shoot a 5D is if you have no lighting, need smallest file sizes, need a fast turnaround with no time for grading, or if you specifically want a very very shallow depth if field. The Pocket with an 85mm 1.2 is shallow enough in my opinion but you might want more, so keep that in consideration. But almost every filmmaker inc. me would to shoot a controlled short with the BM + Arri combination and not with the 5D + L lenses.

If you do use the that Arri beast please report back on how the lens image looks like!

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Thanks Ebrahim. BTW its the 8mm (Wide angle) not the 85mm Arri Zeiss. I don't want to much of a shallow look. There will be compositing in a lot of the shots, so obviously the better the quality, the easier it is to work with them. If I choose the BMPCC, will definitely shoot RAW as I have time to edit. An extra day spent making proxies is absolutely fine. 


Most of the film needs to have a dimly lit feel to it except for 1 scene that has bright glowy feel. 


Will be shooting this end December and if I shoot on the BMPCC + Arri Lenses I will upload some frame grabs.

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Guest Ebrahim Saadawi

Compositing with 5D images is an absolute nightmare compared to ProRes/Raw out of the BM cameras, and also getting a low-key image is one of the 5Ds weakest points, the image turns into a see of blocky blotches of noise rather than a fine frained low key shot. Please do post some frames of the Arri goodness!

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