Blackmagic Forum

I have ARRI Ultra Prime lens set, but it's hard to find a PL->EF adapter for my BMCC.
Some experts told me that's impossible to have PL->EF.
I'm wondering can I use EF->MFT adapter at first, then add on 2nd MFT->PL?

You can't, you can get an EF-PL that works for zooms but not primes. MFT adaptors to PL works with all range of cine lenses(or at least 99%).

Can't I have Zoom and prime both on BMCC-EF mount?
Mostly I use prime lens not zoom.
I did try Red 17-50 and 18-85 on KCW tech EF->PL, no focus at all, event infinite.

austinkcw wrote:Can't I have Zoom and prime both on BMCC-EF mount?
Mostly I use prime lens not zoom.
I did try Red 17-50 and 18-85 on KCW tech EF->PL, no focus at all, event infinite.

There are many adaptors on ebay. They only work on some lenses because the EF mount restricts how much of the rear element can protrude into the mount.

Click the first image on this page for a diagram of the limitations.
http://en.foto-akcesoria.com.pl/index.p ... -canon-eos

Here is a list of lenses they say that have tested:
Canon 20-35mm T4
Angenieux Optimo 19.5-94mm
Angenieux Optimo 28-340mm
Angenieux Optimo 45-120mm
Ruby 14-24mm T2.8
Duclos 11-16 mm
Angenieux Optimo 15-40 mm T 2.6
Angenieux Optimo 17-80 mm T 2.2
Angenieux Optimo 28-70 mm
Angenieux Optimo 24-290 mm
Angenieux 24-290 mm T 2.8
Angenieux 17-102 mm T 2.9
Angenieux 7-81 mm T 2.4 HR
Angenieux 20-120 mm
Canon 300 mm T 2.8
Canon 400 mm T 2.8
Canon 800 mm T 5.6
Canon Century 200 mm T 2
Cooke 18-100 mm T 3
Nikkor 200 mm T 2
Nikkor 300 mm T 2
Nikkor 800 mm T 5.6
Nikkor Micro 200 mm T 4
Canon Century Optics S2000 150-600mm

Thanks adamroberts!
I did talk to Foto's guy in NAB2013. I also saw Blackmagic's booth demonstrated a BMCC 4K model which attached KCW tech adapter with Angenieux zoom lens, and it works.

Just wondering why it never happen with ARRI lens.

adamroberts wrote:

austinkcw wrote:Can't I have Zoom and prime both on BMCC-EF mount?
Mostly I use prime lens not zoom.
I did try Red 17-50 and 18-85 on KCW tech EF->PL, no focus at all, event infinite.

There are many adaptors on ebay. They only work on some lenses because the EF mount restricts how much of the rear element can protrude into the mount.

Click the first image on this page for a diagram of the limitations.
http://en.foto-akcesoria.com.pl/index.p ... -canon-eos

Here is a list of lenses they say that have tested:
Canon 20-35mm T4
Angenieux Optimo 19.5-94mm
Angenieux Optimo 28-340mm
Angenieux Optimo 45-120mm
Ruby 14-24mm T2.8
Duclos 11-16 mm
Angenieux Optimo 15-40 mm T 2.6
Angenieux Optimo 17-80 mm T 2.2
Angenieux Optimo 28-70 mm
Angenieux Optimo 24-290 mm
Angenieux 24-290 mm T 2.8
Angenieux 17-102 mm T 2.9
Angenieux 7-81 mm T 2.4 HR
Angenieux 20-120 mm
Canon 300 mm T 2.8
Canon 400 mm T 2.8
Canon 800 mm T 5.6
Canon Century 200 mm T 2
Cooke 18-100 mm T 3
Nikkor 200 mm T 2
Nikkor 300 mm T 2
Nikkor 800 mm T 5.6
Nikkor Micro 200 mm T 4
Canon Century Optics S2000 150-600mm

or see this thread:
http://forum.blackmagicdesign.com/viewtopic.php?f=2&t=6162

Personally I find it odd and short-sighted that bmcc doesn't offer a PL or IMS option for the 4K. I'd love to throw up some PV glass on it see what it's like.

Actually, I find it odd that you would be asking the questions about these other mounts. The whole point of the DSLR revolution and the Black Magic Cinema Camera by extension, is to release the film maker from the strangle hold of high priced cinema specific equipment. This is done simply by providing a mount that has most consumer and pro still lenses to be adapted to Cinema use. Sure there are some draw backs. But they are not insurmountable. Adapters from there can be produced on a case by case basis, but one should not be surprised that some lens systems just aren't physically adaptable to the mounts being offered.

Or they could've just given you a mount which could be adapted.
Look, I'm not against using stills lenses; however they have several major drawbacks for any kind of professional use and can cost time which can conversely cost a good sight more money then a simple lens rental and often even a purchase.
The point being, this is now heading towards a more professional factor, being a 4K system, and as such people are going to start requesting that it can interface with the professional systems we all use.
Stills lenses may cut it when you're rolling up with a vDSLR which cost you a few hundred bucks; but not really when you're dealing with a 4K camera system where you're not getting murdered for sharpness by the ways camera manufacturers are down-sampling their sensors to some 8bit codec.

AdrianSierkowski wrote:Personally I find it odd and short-sighted that bmcc doesn't offer a PL or IMS option for the 4K. I'd love to throw up some PV glass on it see what it's like.

JB or someone at BM said that they are considering a PL mount option. As a lot of Production houses usually have easy access to PL glass. and EF Cinema glass is fairly new. Plus clients kinda prefer to see the nice big expensive looking glass on the thing thats filming whatever video they want. looks more "professional"

That's good to know; I really don't get why they went EF, but then again they aren't really a camera-company just yet (teething problems). IMS would've been interesting to; akin to RED's system.

AdrianSierkowski wrote:That's good to know; I really don't get why they went EF, but then again they aren't really a camera-company just yet (teething problems). IMS would've been interesting to; akin to RED's system.

They went EF because its insanely common and used to resolve massive resolutions. plus its very affordable. and thats kinda the point of the camera, getting a great image at a low cost.

True; but all of the lenses for it, the stills lenses, are really rather a pain to work with in a cinema environment-- sans the Rokinons ect which are just recently to market. Granted they can't do MFT on a sensor that large; but I wonder if there could've been a better compromise--or a way to bring out both PL and EF. Granted PL would be a few hundred bucks more expensive as it is a more robust mounting system.

AdrianSierkowski wrote:True; but all of the lenses for it, the stills lenses, are really rather a pain to work with in a cinema environment-- sans the Rokinons ect which are just recently to market. Granted they can't do MFT on a sensor that large; but I wonder if there could've been a better compromise--or a way to bring out both PL and EF. Granted PL would be a few hundred bucks more expensive as it is a more robust mounting system.

I'm sure they could have made the mount swappable if they wanted to, much like what Red does. and yes EF glass made by canon isnt always the easiest to work with in a video setting, but why deny all those easily available lenses? and if HD DSLR shooters have been working with them for years its an easy market steal.

this is just me; but i want cameras which make my job, and the job of my crew easier, not harder, and open up a world of options to me. I don't want to be stuck with EF glass if I don't want it on the 4K sensor and I think there are quite a few people who'd've been happy to shell out $500 or so more for a more customizable experience. It just seems a bit "en-vogue," instead of logical to me not to mention limiting in terms of how many people/productions could actually carry it. But that's just my opinion.

Not everybody has money to buy a lense that makes there rig look more professionsl...if you cant make a good video with thoussnds of dollars worth of canon glass and an amazing camera like the black magic then maybe find another job...besided...the pl mount WILL be realeased for hipsters and millionaires.

ALthough I have nearly an entire set of Canon Primes, I would absolutely like to see a mount option that will extend us to PL territory in some form or fashion. It will be a necessary evil (depending on which side of the force you are on) to have a PL mount version of the Production Camera.

But, I think that BMD already realizes this and it's a matter of how to accomplish this without pushing the price higher -- which I suspect is their goal, and without sacrificing the camera's build.

I'm all for the EF model, having both would be ideal for someone that rents/owner-shooter etc. Similar to how having an MFT and EF M4/3 body is pretty ideal.

Just my thoughts.

It's not about the quality of the glass, it's about how it interfaces and performs in real world situations on a mechanical level which leaves a lot to be desired. Something which is going to save me having to do another take because of poor witness marks is going to easily save production and myself a lot of head-aches. If you miss that, then I'm sorry nothing I can say can make you see how necessary it can become to have a real lens on a real camera. I'm not telling people not to buy the EF or to discount using EF lenses; but for working professionals, PL or a way to get to a PL mount is kind of a necessity. Let's not even get into trying to match lenses across bands if you wanted to use the BM4K as a small B or insert camera.

ungovernedreason wrote:Not everybody has money to buy a lense that makes there rig look more professionsl...if you cant make a good video with thoussnds of dollars worth of canon glass and an amazing camera like the black magic then maybe find another job...besided...the pl mount WILL be realeased for hipsters and millionaires.

I prefer vintage Speed Panchro II-III or my Lomo cinema lens set than any still lens. I did my set lens by lens, year by year, I am not millionaire. So here I am, waiting for my BMCC MFT until the 4K PL BMCC comes.

Canon EF L lens are the most cheapest and efficient which achieve 4K quality. I think that's the reason BMD had chosen EF mount at first. Beside, Zeiss CP2 and CZ2 also support both EF and PL mount. I guess that makes BMD strongly believe EF model will success in the market.

I use my BMCC for all Canon L prime and zoom lens. The thing bother me always be the wide angle shot, such as 21mm range in S35, that means I have to choose 10 or 12mm in prime. Some of you may already know if you use Canon L lens, the image would be distorted. Unless you are willing to pay additional to do post. Arri Ultra prime 12mm T2 has a very good distorted control. I hope I can use it on BMCC. Now, it's 4K model but still in EF.....