richg101

dare I say it, a century / optex + tokina +0.4 could be the most cost effective answer. it's actually very good on the smaller sensor and the tokina allows focus from 30cm to infinity without ever needing to take the thing off. again, gonna need some type of support. - the weight will mean your taking lenses will be under a lot of stress. i'd be inclined to buy one and 3d print a lightweight body for the elements to cut down some weight edit: bokeh wont fulfil your requirements tho. I like the suggestion of the widescreen 2000. Also, there is a centascope for sale I saw. Hans_Punk has experience with this lens and I belive it could be the answer - very lightweight indeed.

It's all a bit hush hush atm, but the internal lens system is very very complicated - in order to deliver this level of image quality over such a large image area. The actual black magic camera is the least costly part in the whole system. Assuming black magic were to create a 6k pocket in 3 years, this optical layout will deliver the resolution required - though in this test the vibration system is not operational and is masking the resolution capability somewhat. Wait till you see this badman with a 150mm f2.8 hassy and iscorama 36 combo for 3:1 aspect ratio..

https://vimeo.com/88964445 pass : IMAX IMAX from the Pocket:)

You should look at long focal length, big aperture 16mm format lenses. Double Gauss designs. Due to the crop factor you tend to loose the lovely edge aberrations and distortion that causes the swirls in lenses designed for full frame.

Awesome:) just to inform you, it is worth applying some blue thread lock to the screws you removed from the nikon flange. You'll find that any thread lock applied in the factory is now broken, and will want replacing. I almost lost a Hasselblad 110mm f2 due to loose screws on an adaptor! Just to confirm, the version i am confirming doesnt have issues with mounting is the EF to M4/3 version, not the Nikon version. In which case, ordering the EF version will allow you to fit nikon lenses via a ring adaptor.

ps. USA ebay dont seem to show the camdiox version on any listings however ROXEN (ebay seller) appear to stock what looks lioke exactly the same unit - maybe enquire if it is the camdiox version or not.

http://www.ebay.co.uk/itm/Camdiox-Focal-Reducer-Speed-Booster-Canon-EOS-EF-mount-lens-to-Micro-4-3-Adapter-/251456982191?pt=UK_Photography_CameraLenses_Lens_caps_hoods_adaptors_ET&hash=item3a8c010caf this one works. fits without issues, and has good optical quality on the pocket. - which is easier to deliver on due to the smaller sensor than m4/3. re. the ones that are not fitting - try adjusting the optic itself - its designed to allow back and fourth movement for infinity tweeking in the factory. or for adjustment to allow infinity for lenses that may have shifted over time and no longer acheive infinity. It could be that yours has been wound too far back in the factory and may still obtain infinity when wound forward a bit.

nice choice of squeeze ratio IMO. If anything i think anamorphics should have lots of breathing. - something i wish the 'Rama had!

the camdiox version works on the pocket

indeed. He disregards the fact that not everyone buys cameras for scripted or professional work. I'd encourage FilmBrute to share some of his professional work alongside his bold statements:)

The vistavision sized sensor will lend itself better to locked down shots anyway. Ultimately look at the rolling shutter as something to limit the camera movement and impart a bigger feel to what you're shooting. Fast paced cinematic full frame always looks strange to me since if it were a proper sized cinema camera very often there simply wouldnt be the means to move the camera fast enough to promote rolling shutter artefacts anyway. I cant remember the last time I saw a shot on any film where the dp has requested the operator swings the camera from left to right over and over again.

The vistavision sized sensor will lend itself better to locked down shots anyway. Ultimately look at the rolling shutter as something to limit the camera movement and impart a bigger feel to what you're shooting. Fast paced cinematic full frame always looks strange to me since if it were a proper sized cinema camera very often there simply wouldnt be the means to move the camera fast enough to promote rolling shutter artefacts anyway. I cant remember the last time I saw a shot on any film where the dp has requested the operator swings the camera from left to right over and over again.

black magic pocket with decent firmware, a flip screen and evf, a larger battery that doesnt count down in percentage like an egg timer, as well as the option to use prores lite in less demanding applications.

ban anyone selling stuff on the forum. why should someone earn a quick buck off your hard work building this forum? If i want a lens i search google and ebay. I don't think we need listings here any more - particularly from leaches who don't contribute to the forum discussions.

I like the idea of a 'agree' and 'disagree' button. as well as a 'flag as inappropriate to discussion' button. I imagine it would be great to see who shares the same opinions as others in a tally system. more than 2 votes as inappropriate and the comment is auto deleted and the comment flagged. Any further post related to the inappropriate comment /off topic comment is also deleted by hand?. Too many degenerates with too much free time looking for arguments at the moment.

I like the idea of a 'agree' and 'disagree'%2

i'm a sucker for 6x7 and 6x9.. on my graflex xl:)

the main issue with these cameras is that they use sensors which are not quite true medium format. they're somewhere in between medium format and full frame. they can have all the resolution in the world, but in order for the actual medium format look to be felt it needs the actual jump from full frame to medium format (6x6, or 4x4.5). ie. approx 55mm wide sensor area. these miss the mark by 7mm and effectively it's like the difference between full frame and aps-c. the fact that the lenses tend to be f2.8 fastest isnt a problem when you're using a true medium format frame, but once you crop away 7mm off the width the depth of field / field of view ratio isnt worth the lack of lens speed. an 80mm f2.8 on medium format will smoke a 50mm f1.2 on full frame in terms of overall 'big' feeling (due the the in/out of focus separation being that much more beautiful when rendered with a longer focal length) while matching the field of view and depth of field. The same 80mm f2.8 lens on the 'almost' medium format sensors of these new breed of so called medium format cameras therefore no longer quite competes against the 50mm f1.2 on full frame - a combination now easily accessible thanks to the A7S. Come back to me when someone creates a proper 55x55mm sensor and a set of anamorphics to suit:)

regarding the size of the A7S, once the battery grip is fitted the system is the perfect size - even for my meat pie hands. > remember you have the option of small Leica mount lenses like the voigtlanders, and the sony native lenses if you need compact lenses. as well as decent vintage slr lenses - my 50mm f1.4 zeiss is half the size of the canon alternative and outperforms it in every aspect. Lenses only become large when they need to include af motors and image stabilisation. Both of which are things no one should be using within a cinematic/large sensor type setting - if they are, their priorities are confused. overheating is not an issue for the A7 series.

these types of cameras fall into a really confusing territory. Why would someone buy one of these when the type of work this product is aimed at is clearly undertaken primarily by people who rent. And why would a rental firm buy it when they can just rent out an Alexa, f55, etc out and know it will deliver to their clients continuously day in, day out. Come on black magic. Redesign the pocket with an evf, proper sized battery compartment for sony NP style batteries, CF card slot and user friendly interface and prores LT. Give us an all in one solution that can actually be used in small budget situations that works like a dslr. There are people who would pay 3 times what they are asking for the pocket camera if it worked like a dslr without all the flaws.

yep. funny how everyone is crying about 10bit vs 8 bit... that slog is something to be more interested in. having a good sensor readout and then giving the compressor pretty much the full dr of a 12mpx full frame sensor is something never before seen.

s-log.. great that they included this

indeed. speed is slightly different (particularly if uniform sensor coverage is important. Wide open an f2.8 medium format 80mm lens will usually be twice as bright in the corners as an 80mm f2.8 135 format lens. the 135 80mm will show around 1 stop of vignette on the edges. the medium format lens will be a lot less - probably not measurable. I imagine the helios 40 will have almost 2 stops of darkening at the edge of a full frame sensor, though I have not used one, its highly likely. this in combinaton with its over stretched optics are the reason it looks so beautiful.

It's the combination of slower speed and the fact that the wider lenses don't contain that magical double gauss lens prescription. In the same way the iscorama loves the helios 44, my drive for the wides has been this integration of a planar lens and a high quality wide attachment (which the iscorama effectively is, but only on the horizontal plane). I've not gone deep into a rama before, but it's no more than 4 or 5 elements forming the anamorphot behind the pair of sphericals handling the focus diopter duties. As Andy has stated, it is certainly worth trying out the multi element century wide angle attachments with a helios 44 when on smaller sensors like the pocket since it is only at the edges where these attachments fall apart. The only issue is the weight of them - they're atleast twice the weight of a century 16:9 adaptor!

I have recently been playing with a rather ineresting medium format lens. The Noritar 80mm f2, which i needed to fabricate a mount for due to their being no adaptors manufactured for this exotic beast. It has gotten the nickname 'The medium format Noctilux'.... > as you can see, even wide open the lens is creamy which being sharp enough for its purpose. due to the 1.5 crop of its image circle (its a medium format lens) the vignette and ca is lost, but the bokeh rendition is still present. this is likely gonna be fitted to a tilt shift type adaptor as some point.