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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]

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!

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]

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.

[media]http://vimeo.com/63910035[/media] First 1.50 minutes is sample footage, you can fast forward to 1.50 for the technical info This is something I've wanted for a long time! Focus and exposure are the most important things on a movie camera yet DSLRs don't have a built in ND filter and you're often left to shoot at ugly high shutter speeds such as 1/1000 in bright light to control exposure. With this adapter you can add a variable ND filter wheel to any mirrorless mount camera (E-mount, Micro Four Thirds) effectively adding the main ergonomics advantage of the Cinema EOS C300 and Panasonic AF100. [url=http://www.eoshd.com/content/10149/holymanta-the-nd-filter-lens-adapter]Read the full article here[/url]

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...

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.

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? 

russian foton prices are only about rarity and size nothing to do with quality :)

Most of what you see is easily obtained from Chinese ebay sellers, except for the brass support ring which I got from the local chandlers. Some correct sized orings grip the scope securely and I needed to drill a hole in the riser for the 10mm hex bolt.

  I'll come there soon, we stay in touch !   Over 40 hours of material were taken in NYC, Some in anamorphic, the others with the two SLR Magic 25mm f0.95 and 12mm.

Variable ND filters can be really handy, although they tend to remove a little bit of the sharpness of a video.   Here's a nice review of a few of the common ones: http://www.learningdslrvideo.com/variable-nd-filter-shootout/     I've personally used the Lightcraft Fader ND Mark II which I was pretty satisfied with - until I managed to have it cracked when it fell straight down on asphalt... I'm considering getting a second one of those :)   I also use the Cokin P-series filter system with square-shaped plexiglass ND filters which are also very useful - but not fully as portable (no loss of sharpness with these).   For proper exposure, I lock shutter speed at 1/50 for 24 fps video, set the aperture according to the style I want, and then try to keep ISO as low as possible. If it is very bright and ISO100 is not enough, that's when I use the ND's to get the proper exposure.

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            

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.

  They probably never will. The dynamic range figure they quote is a computed value, not an observed one as "X stops" would imply. It's derived with the following equation:   dynamic range in dB = 20 x log(fullwell capacity ÷ readout noise)   As you can probably guess, this is a theoretical figure, not an observed one gotten by looking at a chart. And the "X stops" figure we toss around here is derived from that figure (i.e., by dividing by 6). That's why I'm a little suspicious of BMD's 12-stop claim for the 4K Pro camera, as the theoretical limit is 10 stops without the CMV12000's HDR tricks. Of course, the CMV could in practice be somewhat better than its specs suggest, but it's unlikely to be two stops better.

You're right. All the major manufacturers have been doing this for a long time. That's why the effort from Black Magic, Ikonoskop, RED, KineRaw, Digital Bolex, Magic Lantern, Vitaliy and the Gh2 hackers are so important. They challenge the status quo and may ultimately get one or more of the major manufacturers to respond with changes in the way they do business.

I love the idea of this, though I wish that it were a 0.3, 0.6, 0.9 system rather than a fader. With a fader of any kind, you are always going to experience some level of polarization and unless you are free to turn both polarizers (usually you can only manipulate the front one), you won't be able to control the amount:   https://vimeo.com/26687398

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...

Nikon has enough engineering and marketing resources to develop just about any camera they want. The Nikon 1 system with a 1" sensor has the potential to be a Black Magic Pocket Cinema competitor. It's surprising to me that there's been little mention of the styling similarities between the Nikon 1 series and the BMPC. They have similar size sensors as well. Of course Nikon could also challenge the Canon C series if they chose to develop a large sensor cinema line. I hope Nikon has the vision and determination to develop a dedicated cinema/video camera division. They already have a vast array of lenses that could be integrated with Matrix metering, AF, Vibration Reduction and even a power zoom. An innovative adapter like the FT-1 could allow for the use of Nikon legacy lenses. IMO the biggest question is whether Nikon has the corporate vision and leadership to execute a dedicated video/cinema camera division. So far, Nikon has mostly been a sleeping giant when it comes to video and cinema camera development. I hope they awaken with a passion. Otherwise we'll all be waiting until 2020 when Black Magic finally announces it has an M4/3 mount with fully dedicated electronics for ANY feature offered by lenses from Panasonic, Olympus or other m4/3 lens manufacturer.

Blanche have a read of the DSLR guide by Ryan Koo http://nofilmschool.com/dslr/ It's simple with some great tips, definitely worth a read

I thought I would share some shots of my compact Moeller rig.   The tiny lens is the Pentax Auto 110 2.8/50mm lens, which has a rotating front element, which is not a problem in my setup and is just perfect for a 2.35:1 crop.   A really great feature is that I can set up for precision verticality once and thereafter all my shoots are perfectly aligned. Goodbye slanted video.   Another great feature of the lens support is that it lets me use auto focus rear lenses. I just focus the Moeller and half press the camera shutter to focus the rear lens and I am done. This makes life with a double focus system a breeze.   I decided to name this "Scope on a Rope" :P  

Just playing with these for about 3 minutes, I can see why it's often called "baby Alexa"   UNGRADED     ATTEMPT TO CREATE "ALEXA STYLE" LOOK