Thread: Need lens reccomendation for Pocket Cinema 4K

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  1. #1 Need lens reccomendation for Pocket Cinema 4K 
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    So I currently have my pocket cinema 4k along with a Canon C200. I am up in the air at the moment but may potentially sell my c200.


    I currently own a Sigma 18-35, 70-200 2.8 ii and a 100mm 2.8 IS Macro.

    These are all great lenses but I feel a tad too sharp and I honestly hate using adapters. I just returned the viltrox because it was not of quality. I know there is metabones but I am thinking of going a different route.

    I hear great things about the SLR MAGIC HYPER PRIMES. They are MFT which is nice and also have manual control which will be great for my incoming wireless FF.

    I was looking at the 10mm, 25mm, and 50mm. I think the only other one is a 17mm. What are your guys thoughts on these lenses? Will be using for narrative work.
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  2. #2  
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    Bump.
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  3. #3  
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    There is a thread on those right next to this.
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  4. #4  
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    Quote Originally Posted by Nomad View Post
    There is a thread on those right next to this.
    That is for the APO, I am asking for advice on the HyperPrimes.
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  5. #5  
    I can only afford 3 lenses, so I'm considering the SLR Magic 17mm, 25mm, and the 35mm. Not too wide, not too much tele, but all with fast apertures.
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  6. #6  
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    There is also the 12mm t1.6 which is nice. And two different SLR magic 35mm (t1.4 & t0.95).

    I own 12, 25, 35 and recently 50mm.

    I often use these lenses. They are good, have a cine look, not too sharp, rather hot. They are not exceptional but very pleasant to use. Small but solid, good design, professional look. For me the best choice with a BMPCC 4K.

    The only flaw that I have noticed, and that can really be a problem, is that they are designed differently depending on the focal lengths. They have different sizes and the rings are not in the same place. Some have the rings reversed (ring of diaph and focusing ring). They also do not have the same dimensions: on a rig with matte box and follow focus, it means that you have to move everything when you change the objectives. In a film shoot, they also have the defect of their quality: as the diameter is small, it is difficult to use with a matte box and I sometimes have unexpected reflections on IR filters.

    On the other hand, for use in casual mode (documentary, wedding, sport...) with a 4k camera they are just perfect. A small ND filter variable with and they are hyper versatile: this is the perfect combo.

    If you want to see a test I did with BMMCC and three SLRs, look here:
    https://vimeo.com/284549787
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  7. #7  
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    The SLR Hyperprimes also extend when focused, as most still photo lenses do, which these lenses are based on, adding to difficulty using them with a matte box. I second the 10mm, very nice lens. If yiu wanr small and light with more consistent design, the Panna Leica Primes are nice, 12mm (excellent but expensive) 15mm (compact great handheld WA street shooting lens) 25mm, 42.5 Noct (outstanding IQ, great people lens, but expensive), and the 45mm Micro. The 15mm, 25mm, and 45mm are close in size (compact and light) and front filter ring size.
    Cheers
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  8. #8  
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    Anyone has tried on BMPCC4k the Panasonic Leica DG Vario-Elmarit 8-18mm f/2.8-4 or the Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO Lens ?


    Are both covering the whole sensor completely ? noticed any heavy vignette effect ?
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  9. #9  
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    What's wrong with using a Metabones adapter? Depending on the adapter, it should be as good if not better. Might want to consider PL adapter and renting Zeiss master primes.
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  10. #10  
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    I just want to put this out there that after searching for options I like the Olympus 17mm, which has a 1.2 and a 1.8 version. The 12-40 looked like a possibility too. They look like cinema quality to me. I wasn't so taken to the SLR Magic look.
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