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Indeed, it's funny. I don't get all the confusion either. It is really simple. If you don't understand it, just look at the various tests. You'll see how it works and you'll see it actually does everything it promises. There's not even math involved. On aps-c camera's every lens will give you the same image as it would on a fullframe-camera (same fov, same dof) and you get an extra stop of light. Thats all...   Anyway, let the whiners whine. I don't think people will be able to spot the use of a Speed Booster in final results. I'll be extremely happy with mine.

Strictly speaking, you are getting a wider and faster lens, that produces an image on a smaller sensor that is equivalent to the image produced by that lens on a larger sensor. If the metabones adapter were optically perfect, the two images would be mathematically indistinguishable. Creating a lens that is both wider and faster is a big deal. Video readout from the smaller sensors is currently more complete (higher resolution, less aliasing) than the video readout from larger sensors, which means the ultimate image coming from the smaller speedboosted sensor will be superior to the ultimate image coming from the larger sensor.

somebody has tested it:   http://www.lensrentals.com/blog/2013/01/metabones-magic#more-11888

@lafilm   Barrel distortion is a function of the lens.  If you see it with this adapter it would show up on a FF camera.  Next.  (forgetting the fact that strict prohibition of barrel distortion of any magnitude is kinda silly outside stodgy industrials and ENG stuff that tends to be flavorless in every way anyhow...).  Oh, and your "not as sharp" comment is 100% incorrect.   Your second comment makes no sense at all.   Wide options exist for M4/3 and BMCC type films.  I seem to remember wide shots in Slumdog Millionaire.  Oh look, it's even smaller than the BMCC.  Oh look, it won the Academy Award for Best Cinematography.  Who'dathunkit?  Not folks that handicap based on a spec list and their preconceived notions instead of the observation of reality and results.

There is no ADR, as ADR is usually a process after picture editing is locked. We are editing the film now, and this is a working trailer. It is also, as the article's title clearly states, about a very specific type of anamorphic lens, which I find provides a magically slight distortion to reality. A Frazier (correct spelling) lens allows the foreground and background to be in focus, and is great for wildlife shots. http://en.wikipedia.org/wiki/Frazier_lens Anamorphic and Frazier are very different animals. This is also not an article about acting, and having seen all the footage of this film, I find the acting to be very good, very natural and real. I see the written story coming to life through the characters. Other professionals in this business, one with two academy awards, feels the same way. His name will be in the final credits. Something else should be said here. Most filmmakers I know salute any filmmaker who goes through what it takes to get a feature film in the can. Whether it was shot on an Alexa or an iPhone. For anybody else reading this, if you have a passionate dream to tell a story in moving pictures and sound, GO FOR IT!! Know the difference between constructive, well informed, and useful criticism, and destructive, sour criticism, which should be ignored. Brush it off and move on.

See all this crap is why I usually avoid forums. Thanks Burnett for answering my questions.   Slightly less thanks to OverCranked for initially answering my question then going on a rant about something un--asked for.   Props to Tony for his always impeccable spelling.

Hi all, please join us to improve GoPro 3 with our GoPro 3 exposure lock petition. Thank you. Text of the petition: We, the GoPro3 users, would like to ask you if you could enhance the GoPro camera with exposure lock functionality. GoPro is a wonderful camera, however, inability to lock exposure can cause side effects that can be noticed in the following video: http://www.youtube.com/watch?v=qFMCWAqY_Io. We would also appreciate full manual control over ISO and exposure, but we all hope that you could add at least the exposure lock function. Thank you very much. http://www.ipetitions.com/petition/gopro-3-exposure-lock/

  The depth of field will be the same with the Speed Booster on APS-C as a full frame. It's worth noting however that just because the image is brighter by a stop doesn't mean that the depth of field will be shallower by a stop. For instance an EF 24-105mm f4 lens used with a Speed Booster adapter on an Sony FS100 at f4 will behave like it is f2.8 (brighter) but the image will still only have the depth of field characteristics of f4 on a full frame body.

Hey, folks,   does anyone of you know whether there are (online) shops within the EU that distribute Mosaic Engineering's anti-aliasing filter? M.E. themselves charge 40 USD extra for delivery from the US to Germany excluding(!) customs dues. I feel like there should be a way to avoid these high charges and still get the product. Anyone with some advise?   Greetings, Matthias

  I totally agree with you on this. There's a place for separate discussion of all the elements important to filmmaking. If I see anyone trying to derail a discussion about some technical aspects of film production on here with their boringly obvious and uninformative 'content is king' mantras I will be, to quote Tarantino, shutting their butts down.   The analogy you used about the actor board was perfect. One wouldn't interrupt a discussion about acting technique with something completely irrelevant about CMOS sensors so why do we see it happen so often in reverse on camera forums?   "Hey Daniel Day Lewis your acting is pretty useless without a lens!! How about we talk about what's really important!!?? Canon or Nikon glass?"

http://vimeo.com/57292607 The Speed Booster will be available from Metabones later at a date TBC Are you sitting down? Sensor size is history. An optical reducer is something I have long thought was possible on a DSLR and wondered why nobody had made one. If your sensor is smaller than full frame, shrink the image that the lens throws to fit over it. That is the principal behind the Metabones Speed Booster which essentially gives you the full frame look and a brighter image all at once on your Sony E-mount camera. Crop factors are a thing of the past. This is revolutionary...  

  LOL, you obviously haven't read the actual tests being done (click the link above).  Resolution with the same lens on the adapted NEX is measurably higher than a 5DmkII in the center and averaged over the entire lens, only dipping slightly in the corners.  Right there, sharper than still the best value in full-frame motion picture shooting, so good still that Canon had to take it off the market to make their newer, more expensive cameras more attractive to Canon buyers.   Also, you haven't read how Slumdog Millionaire was shot with those cameras either.    Please, continue to punt though.

  I don't exactly understand what you're really trying to say here? This is how many undiscovered directors have got their start. Crews of 100+ are not WHY films are good. Good films come from talent, not crew-size and money. Well produced films typically HAVE allot of money and crew, but it's not "why" they are good.   Seems like you're bitter about something. Threatened by the innovation and falling costs/sizes of production? But then again, maybe some people should be... the days of hacks who could never make it in the creative aspects of film-making, yet still getting paid $1500 a day to hand people lenses, are coming to an end.   Technology is finally freeing the creatives from the "brush-holders" of the industry. This is great! Should be celebrated!

    not me sirs.. dats my busyness partner stan he in prison for imbezzlement and suduction of old age folks and fors sellin fake copies of diopters using milk bottle glass. eye am sorry if der is still milk inside your dieopter

thank you for this very informative test andrew.   but don´t be fooled. you are not getting a ff camera, you are getting a wider lens, that´s all.   a crop image with the same dof as a full frame or medium format will always look different. that´s why people shoot hasselblad. because the physical size of the sensor defines how space is rendered. it has little to do with the lens or that actual focal length. a large format shot at f64 with everything in focus from 1 meter to infinity will look very different from the same shot on a smaller format with the same dof. i can´t tell you why, but my eyes tell me. the larger the format the more "relaxed" the image looks i think.   also a lens is a complex system where each component is produced specifically for it. the same glass for every lens out there doesn´t sound like a great idea. that´s probably why nobody really did it yet. andrews great test shows it. works for some, for some it doesn´t.   i´d rather get an actual 35mm on s35 if i want the angle of view of a ff 50mm. especially if i have to stop down anyway for the same corner sharpness.   the added stop in sensitivity will come in handy no doubt, also for wide angle on the bmc this might be a blessing until someone builds fine lenses for that format (if it will survive the next 2 years.) but it is in no way a game changer.

"In no way is the Metabones adapter giving us a poor man’s full frame image here."   Uh oh... just wait for it. :)  You know this is going to be the talk of every indoctrinated 5D fanboy on the planet. "Don't let those speed-booster shooters fool you... they're not shooting on REAL FF cameras!" Anyone want to take bets on when the "real full-frame look" cine-meme will show up? I say 2 months.

Just curious about people's views on this. What will the trends be?   Do you think sneaky people will now go around cherry picking fast second hand lenses on eBay to resell for lots more money when using a Speed Booster becomes a norm?   Or will there not be much affect just cheaper old lenses like  f2 and f2.8 becoming more popular? Maybe selling for a little bit more.   Will new Canon lenses start selling very well to the MFT market and we all get on like happy bunnies?! Will people say  "I love my GH3 with my Canon glass they were made for each other!!!" "My Canon glass is so much better than when it was on my Canon!"   And what will the affect be on the beloved Voigtlander 25mm and the 17.5mm? Will they get the cold shoulder? Will the prices tumble.   Will SLRMagic be checking out all the books on advanced optics from the local library. Only kidding ;)   Predictions please.

Here's  a few seconds from one shot from today (it is one of the less gross shots).   50 mm lens.  Neutral style.  Played with the colors then uploaded. http://www.youtube.com/watch?v=73zdOAM-n7I&feature=youtu.be

@axel My suggestion is to create a preset for only the clips that were shot at the same time. If you shot 10 clips within 15 minutes the lighting will not have changed that much to cause a difference. don't use the same preset for clips shot 6 hours earlier, the day before and the day of.

thanks for the test Andrew.  A true comparison between real full frame and aps-c was what we all needed.  I am amazed at how much the images look alike.  If anything I thought the branches on the trees in the first shot were sharper on the nex7!  and nex7 was iso1600 vs iso 3200 for 5d!  WOW!     Assuming the shot of the olympus camera was at f2.8 on the 5d and f2.0 on the nex7, if you set the lens to f4 on the nex 7 it will be effectively as bright as the 5d set to f2.8.   so at the same brightness, with the cameras set at the same iso, shutter, but with the nex's lens set to f4 and the 5d's lens set to f2.8(assuming the lens had a manual aperture ring), the depth of field will be less shallow on the nex7?  

If you're flying bmcc then you can get away with pilot model quite easily.