It's external for sure, you can't use the internal with a pre-amp.

In my experience the audio in the BMPCC is quite OK when fed line level by a per-amp,

@matthere

It doesn't really look fisheye, shooting through the center like that. I don't particularly like the look of wide rectilinear lenses and prefer a bit of bow. Looks very usable to me for ultra-wide but not skater video wide ;)

@FrankGlencairn Yeah, I saw it earlier and it's one of the reasons I'm looking forward to getting one of these cameras. Great short - very nicely shot and nice story as well.

@kholi +1 re bmpcc w/ sigma 18-35/1.8 with speedbooster. This may be a good combo that yields similar FOV/zoom range as a GH2 from 20-40mm (assuming my math is right), which could possibly be a single lens that could work for narrative feature work, plus I guess speedbooster takes that 1.8 down to around 1.2, so very flexible. I will definitely test for this possibility in the near future. Now it's all about testing to see what type of image comes out of that combo after trying various camera settings and lighting setups.

@grierdill

At frist I didn't notice much of a degradation at all, but as I started using it more (for a while it was always on the lens) I noticed fringing at the edges of the frame, and you could actually see that the overall image was slightly softer.

It added something to the bokeh that I liked a lot, or the way the focus "falls off" from in to out. It would be hard to recommend it given how expensive large Wide Angle adapters are, but I can say that it was sharper/more pleasing wide open than the 12/1.6 SLR on the Pocket Camera, and almost as wide at that.

Distortion was about on par, which was surprising.

This is where I would be interested in seeing the 18-35/1.8 with the Speedbooster.

Received a Fotga C-mount adapter today, and for less than 10 U$ the quality is highly recommendable: Fotga C Mount Lens for Micro 4/3 Adapter EP-1 EP-2 G1 GH1 GF1 on Ebay

It fit's a machined Tevidon (and all lenses that don't need machining) and it fits the BMPCC, while a few other Chinese ones didn't and were difficult got get off when stuck halfway.

Fotga rocks.

Bmpcc / canon FD 35-70mm f4 24fps / 180 degree shutter angle

sharpened in AfterEffects 70% unsharpen mask graded a little with frischluft curves

@Vitaliy_Kiselev

Ahhhhhh, I knew it! Just didn't wasn't to get accused of starting anything. It's funny how the tone comes through no matter what screen name he uses. Think he got banned from BM forum recently too. He really is a sad human being for needing this much attention.

I don't think "we" are talking about the pocket concept, seems like the same guy just talking to himself.

Who's really that adamant about 1. their method and 2. everyone using this 14-45 that they join with two different names to agree with their own post?

@nomad +1: Primes most of the time + 12-35 for doc, that would be my ideal set.

Are we still talking about the "pocket" concept?! Really? I hope more cameras get delivered soon so we can see more footage and less endless pointless talk.

If you are on a film set with proper lighting and crew, I doubt you'll consider that lens (even doubt you'll use the BMPCC): crappy focus pulling, not even to mention zooming. Plus, it's rare to stop down to 5.6 even on a well lighted set. Sorry, mate, but horses for courses. Have a look at the distortion of those zooms at photozone. Even the 12-35 is bad enough at the wide end. No test from me, because I don't consider it for my work. For doc, I want the 12-35, for a film set I want primes most of the time.

@dbp

From everything we've seen it's a little better but you still want something fast to save your butt. That's why the speedbooster seems to be so useful and from some tests we did last week with a BMCC and the Pocket Cam, with and without the speedbooster, that extra stop really helps. I should have brought my GH2 so we could have done some side by side but we already had the two BM cams, a Sony FS700, some sort of Sony ENG camera and a RED there so we were already pressed for time. I'll try to post some of the footage whenever Hollywood Camera releases it to me but we tested the old Tokina 28-70 2.6, SLR Magic 25mm .95 and a few Rokinons. Maybe the 17.5 Voight but I can't remember since we were blowing through cameras and lenses.