I have the Angenieux 9.5-57mm f/1.6-2.2 in ARRI B mount. It does not vignette across it's full zoom in HD or in the 2.6K sensor area above 13mm on my BMPCC 4K. This results in a full frame equivalent of (13x2.89) 38 to (57x2.89) 165mm. It's parfocal, and does not breathe when focusing. Angenieux lenses tend to look warm. I have seen good copies go for under $400 USD. I paid $325 for my Angie. There was a rare HEC version that costs more. Rafcamera makes m43 adapters for $79-$99. They sell for less than the 17-68 and are faster. I found this on Vintagelensesforvideo:
..(og BMPCC) Yes, 9.5-57mm also vignettes at the wide end as can be seen in the video above, but from 17mm, sensor coverage is pretty much the same as on 17-68mm. In addition to that you still have the flexibility to go much wider if needed. Vignetting is almost invisible with a 2.35:1 aspect crop, which we often use anyway, or can be hidden with a 5-10% timeline crop and once you get over 25mm no correction of any sort is needed which is the same for 17-68mm. Another little bonus on 9.5-68mm is that it is even faster than 17-68mm at the wide end, although by 17mm both are probably around F2.2. The 9.5-57mm has a handy preset function on the aperture ring which let’s you lock it at F2.2 as widest setting to prevent exposure change as you zoom the lens in. The aperture adjustment is click-less and super smooth too. ...at around F4 and to me it felt as sharp as I’d like such lens to be. After all, most people would buy such lens for its old school feel and character, which it has plenty of! Worth over $500
Using Angenieux 9.5-57mm F1.6-2.2 on BMPCC/S16 | In-depth REVIEW ...
https://www.vintagelensesforvideo.com/a ... -9-5-57mm/Cooke Varokinetal 9-50mm f/2.5 zooms were converted to super 16 with Optex 1.2x converters, making them 10.8-60mm T3 parfocal lenses. At this level of magnification, the image quality loss is only 20%. The geared 340 degree focus ring does not breathe in rack focusing, and the zoom works with geared Ikan adjustable tension lever mechanisms. They can be had for under $2000 when you can find one, which is less than 3% of their original 1975 price. Due to the current slump in lens rentals, companies are selling off their seldom used lenses, making them available. Since they were designed to be blown up to 35mm, they are on a par or better than the best of the 35mm film lenses. It works without vignetting in the full zoom range in 2.6K and HD. It should cut well with Voigtlander MFT primes. The look is classic Hollywood. 80s indie features, like THE DRAUGHTSMAN'S CONTRACT, were shot with a Cooke Varokinetal 10.4-52mm, the factory S16 conversion of the 9-50mm.
- THE DRAUGHTSMAN'S CONTRACT - Cooke Varokinetal 10.4-52mm
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- THE DRAUGHTSMAN'S CONTRACT - Cooke Varokinetal 10.4-52mm
- Screenshot_20210430-151908.png (747.54 KiB) Viewed 19032 times
- THE DRAUGHTSMAN'S CONTRACT - Cooke Varokinetal 10.4-52mm
- Screenshot_20210430-151648.png (919.78 KiB) Viewed 19031 times
EDIT1 - In UHD on the BMPCC 4K, it does gradually vignette horizontally 25% above 35mm, and 10% at 60mm in UHD.
EDIT2 - Using the Cooke Varokinetal 10.8-60mm T3 on a Bezamod PL mount modified BMPCC 6K at 4K DCI braw, there is no vignette at 28mm and above. This is a full frame equivalent fov range of (36/(4096/6144x23.1) x28) 65-140mm. An 87% crop at 10.8mm removes the vignette, for a full frame equivalent fov of ((36/(4096/6144x23.1) x10.8)/.87) 29mm. There is no vignette at 2.8K throughout the zoom range and at 3.7K there are dark corners from 52 to 60mm, with vignetting below that.