I'm looking for some parafocal zooms. Here's some criteria:

• native or adaptable to m4/3rds
• manual iris or adapter that includes iris control
• hard stop focusing preferred
• breathing I don't mind but nothing outrageous
• no too-slow apertures like f8 or f16
• need a few choices for cinema-purpose films
• also some choices for live event/lecture shooting
• zoom controls huge plus! (I plan on using my rigs FF)
• under $5k
• broader focal length range preferred

I've had my eye on the Nikor 50-300 f4.5 for example.

Thanks for the input!

• treetah

This music video was shot with a Sony Fs700 and Samyang lenses.

Check the shots at night, they were all made at 50 fps, without help of any speedbooster, just the combination of the Samyang lenses and the right exposure.

We had no help of any kind of light equipment, because we didn't have the budget... just the street lights. For those who are thinking to buy this camera, I can just say that the Sony Fs700 is really a good deal for what it can deliver. See for yourself. And the grain... was put on purpose on post-production to have that dirty effect.

can anyone of you tell me, which mount this is? Thanks to you in advance!

I just love that their contrast options are "Low, Lower, and Stupidly Low."

http://dogschidtoptiks.co.uk/index.html

So far I have looked at the 35-105 3:5 Canon FD, which is pretty close.

Is there anything better than this in any other mount?

Primes:

18mm f4 distagon

21mm f2.8 distagon

35mm f1.4 distagon

100mm makro-planar

+long teles might also be of interest.

Zoom:

33-135mm f3.3-f4.5 vario-sonnar

1/2-inch format ENG lenses are made for 3-CCD cameras. The standard specifies an amount of glass behind the lens for the prism and color filters. It also specifies slightly different flange focal distances for green than for red and for blue. Since the GH2 has no prism and has its color sensors all in the same plane, these lenses are not perfectly matched for the GH2. In my testing, at wide aperture settings the image becomes hazy due to some focus aberration - I'm guessing mostly because of the absence of glass behind the lens. Stopping down to f/4 or so mostly fixes the haziness. In theory, the lack of glass behind the lens could be corrected with nothing more than a flat block of glass between the lens and the sensor. It would take more complicated optics to correct for the differences in the flange focal distances of the different colors, but I don't expect the longitudinal chromatic aberration to be very bad if this weren't corrected.

There are two 1/2-inch mounts: standard, and Sony. Most 1/2-inch lens models were made in both mounts. About two thirds of the used lenses for sale are in standard mount, and one third in Sony mount. I have attached sample images of the different mounts. The standard mount has a flange focal distance of 35.74 mm. The Sony mount has a flange focal distance of 38 mm.

ciecio7 on eBay makes a 1/2-inch Sony mount to Micro Four Thirds adapter: http://en.foto-akcesoria.com.pl/index.php/shop/product?idproduct=321&productname=1-2-quot-38-mount-mft

He also had a 1/2-inch standard mount to Micro Four Thirds adapter listed for sale, but I ordered the adapter and it was wrong. I'm sending my adapter back, but I'm sure someone could work with him to get him the proper specifications for a 1/2-inch standard mount adapter. The 1/2-inch standard mount is quite similar to the 2/3-inch B4 mount, except with a different flange focal distance. He already makes 2/3-inch B4 mount adapters.

Canon 1/2-inch ENG lens models:

• KH: portable high def
• H: portable
• PH: studio/field

• YH: portable pro standard def and pre-HD (semi-pro)

• SX or SY in the servo unit model number indicates a Sony interface. IX, HX, or BX indicates a standard interface.

Fujinon 1/2-inch ENG lens models:

• HS: premiere series high def, standard mount
• HSs: premiere series high def, Sony mount
• ZS: high def, standard mount
• XS: high def, Sony mount

• S: standard def and pre-HD

• -38, -D38, -18, or -D18 suffix in the servo unit model number indicates a Sony interfaces. Suffixes with other numbers usually indicate a standard interface.

Standard definition lenses in most cases are more than capable of delivering HD resolutions, though not necessarily across the entire frame and at all focal lengths and aperture settings. HD lenses are made to a higher standard, and they cost a lot more.

References:

http://www.cinematography.net/edited-pages/HDLensesOnFilmCameras.htm

http://tech.ebu.ch/docs/tech/tech3294.pdf

http://www.usa.canon.com/CUSA/assets/app/pdf/whitepaper/bctv/2.3InTriImager08.pdf

http://www.usa.canon.com/CUSA/assets/app/pdf/bctv/CanonMarch06WhitePaper.pdf

http://www.usa.canon.com/CUSA/assets/app/pdf/bctv/Whitepaper_Revised.pdf

SETUP 1: Panasonic LUMIX G 20mm f/1.7, Sigma 30mm f/1.4, Canon EF 50mm f/1.8 II

SETUP 2: Tokina 11-16mm f/2.8, Nikon 28mm f/2.8D AF Nikkor , Nikon 50mm f/1.4D AF Nikkor Lens

I'm going to be filming for the most part, short films, and I want lenses that will give me a nice cinematic feel? (can't find the right word to use here) But, just want to get your guys' opinions on these setups and what you guys think I should do. I am on a budget here so if you are going to make other suggestions for setups please try to keep it below $850. Thanks!

Thank you for your time, responses, and patience, I am a noob now but hope to be good at this eventually.

Now with 4k coming along, I'm wondering if these older lenses will have any chance of producing the detailed images that the higher resolution sensors are capable of. Or, whether the way forward would be to use an RJ or Metabones speed booster with these lenses to get the detail/ resolution? It would be a shame to not be able to get the benefits of 4k unless using m43 lenses.

Does anyone have any experience, or opinions on this subject? I'd appreciate any comments.

Link removed

I've just hired a 45mm TSE lens for 48hrs, it cost me about £52 including the return postage. The 48hrs didn't include the delivery and return day. They box up the lens in a plastic tupperware style box and a very soft lens bag. The service seems quite pleasant.

Not used a TSE before, here are my experiments:

http://www.flickr.com/photos/63040616@N03/sets/72157638357671044/

I just recently wanted to buy a fisheye lens to filming skateboard videos, but I came across 2 different fisheyes :

• The Rokinon 7.5mm f3.5 for Micro 4/3

Or

• The Rokinon 8mm f2.8 for Sony E-mount (NEX-7, NEX-5, NEX-3...) + Adapter

The thing is I know the Rokinon for M4/3 is going to fit directly on my camera (tried it in a shop), but the Rokinon for Sony is much faster, but maybe a little less wide...

Can you please help me choose ?

Thank you.

I'm looking to get the Voigtlander 58mm f1.4 Nokton (Nikon Mount) and adapter to use with my Voigtlander 25mm f0.95 on my GH2. I primarily shoot video.

When researching this lens I've come across a lot of talk about the lens overexposing by 2/3 f-stops and a few people are saying it's the chip that causes this. Am I correct in thinking that this don't be a problem for me on the GH2 as with a the camera wouldn't be able to meter the lens anyway?

Any advice greatly appreciated.

Many Thanks, Matthew

Looking to sell them in 1 package for 85 euro. Fotasy Konica -> m4/3 m42 -> m4/3 canon fd -> m4/3 (ciec70 adapter) Olympus om -> m4/3 Nikon -> m4/3

reviews: http://www.thephoblographer.com/2013/04/30/review-tamron-70-200mm-f2-8-sp-di-vc-usd-canon-ef/ http://photo.net/equipment/tamron/70-200vc

I own the GH2 with the 14-140mm Lumix lens, and I just started making films. I really like the 14-140mm, it has a very fast autofocus (for filming skateboard or whatever...), and when zoomed in it has a very nice DOF. But the problem is, it is way too sharp (even with sharpness at -2 and the Apocalypse Now DrewNet 'Soft' hack 444 matrix). I bought the GH2 thinking that it would have the same "Smooth" effect as the Canon T2i, 7D, 5D but with more resolution... because the GH2 IS a DLSR (or should I say DSLM). I know I could have this effect if I use non-panasonic or vintage lenses, but right know I own only the Lumix 14-140, and I'm not buying new lenses right now (or anamorphic adapters). The videos with those kit lens looks too much like a cheep Hi-rez camcorder and not like a DSLR or Cinematic or RED video... I know, I know, I should use a short DOF, reduce everything to -2... bla bla bla... But the 14-140 is still too sharp. It maybe even look a tad better on the GH1...

Now is there any type of HACK made especially for that type of lens, or any HACK that really softens the image down (canon-like) without a big loss of quality ?

I've already tried "soft" hacks (apocalypse now...etc), but it doesn't change anything, the edges are still too rough and sharp.

• I would like that kind of soft light and professional effect from Canon cameras (but with better quality) :

• And not this too sharp/camcorder look effect (even though it's a cool video) :

• But the best would be this effect (those are NOT Lumix lenses) :

(And yes, I like parkour)

I know that there are already some posts that are about the same, but none of them really helps me.

Please help me !

Harvey.

I've tried both the Konica 40mm Pancake and the Nikon Series E 50mm Pancake, but I'm curious to see if I can go thinner.

Duclos modded lenses: http://www.ducloslenses.com/collections/zeiss/products/zeiss-zf-2-cine-mod Tokina 11-16: http://www.bhphotovideo.com/c/product/554036-REG/Tokina_ATX116PRODXN_11_16mm_f_2_8_AT_X_116.html

They've only been used once for a camera test on the GH3. They're spectacular lenses but for my productions the GH3 doesn't meet my needs.

Panasonic 12-35 2.8 for sale 1030.00 obo New

Panasinc 35-100 2.8 for sale 1260.00 obo New

This is 10 % off list price for new lenses.

I've been a longtime member on DVX user and trusted buyer and seller of gear on Red User. I'm also a NYC local 600 union cameraman located in Brooklyn, so I'm easy to track down.

I prefer to only accept cash, check, direct deposit, or wire. Sorry no paypal or credit cards.

You can reach me at: saintmarkspictures@gmail.com if you're interested.

You can also see my work and credentials at www.timnaylor.com and credits at IMDB

Thanks,

Tim Naylor - NYC DP. www.timnaylor.com

For mount Canon EF, Nikon, Sony E-Mount, M43, Sony Alpha/Minolta, Arri PL.

We hand machine each lens and apply various cool modifications to add extra character to your pictures or movies. The lenses are available in various styles. Please see our online video samples and our PDF, then choose your style! If unsure just let us know what video sample you like best and we will send you the right configuration :-

http://www.43rumors.com/no-joke-new-dog-shits-optics/

http://www.etsy.com/listing/126095702/flare-factory-58-dslr-mount?

http://www.etsy.com/listing/126095702/flare-factory-58-dslr-mount?

I've searched for answers but came up with nothing, if there is an answer please point me in the right direction and close this thread. Forgive me if I'm posting this in the wrong category.

I'm using the GF2 (hacked) for filming with old vintage lenses. I mainly use a Canon FD 50 mm 1,4 and a Canon FD 28 mm f2,8. When I try to shoot wide open the image gets all blown out (of course) and a ND-filter would help me with that. But when I shoot in any of the My colour modes the image is fine.

So what does the My colour mode (except the obvious effects) do that I can't do in manual mode? I know there's no manual controls when recording video so does it really matter what mode I shoot in? I'm thinking that the custom My colour mode (without changing any settings to the colour) is cheaper than a variable ND-filter, if the mode doesn't do something wierd with my video...

I'm saving for the Nokton, but its price is a bit prohibitive -at least for my third world economy-, PanaLeica wanted to know if it is a good option and I can get a result close and as cinematic as the Nokton or the step and go straight to the Nokton.

I would like to arguments for and against each.

Thanks.

2012 is drawing to a close. I'm right now trying to optimize my workflow and sell a few pieces of equipment I don't necessarily need anymore.

All three lenses were bought at the beginning of this year and were only used a couple of times on pretty small projects.

They are built like tanks and offer absolutely lovely bokeh. Focus is really, really smooth. I seriously recommend them.

Perfectly fitting Half Inch Rails gears included. (Best lens gear in my opinion, nice and simple)

Nikkor AI 24mm f/2.0

Asking price: 260 Euro (345 Dollar)

Nikkor AI-s 35mm f/2.0

Asking price: 225 Euro (295 Dollar)

Nikkor AI 85mm f/2.0

Asking price: 240 Euro (315 Dollar)

I'm pretty sure there'll be more offerings in the near future. Keep an eye out.

Located in Germany. Shipping worldwide.

These lenses are so sharp, crystal clear and well built with smooth focusing so for an almost giveaway price you should really consider looking into them. A must buy if you are on a budget.

This was made in 3 weeks including devising a storyline and pre-production. All comments are appreciated and I will answer any questions you have.

Thanks, Aaron.

I wanted to ask if Panasonic Lumix G 14mm lens is rectilinear? and if Panasonic 7-14mm lens is rectilinear throughout?

And which other rectilinear wide-angle and ultra-wide lenses would you recommend for GH13? Please also mention the rough price for each lens.

I'm especially interested in legacy lenses that could be had for cheap.

Many thanks!