@slrmagic would it work on the S16mm sized sensor Blackmagic Pocket Camera?

@slrmagic well, this is just like with any lens. The significance in the case of your working prototype lenses is they're reported to be performing well at stops none of the other focus-thru options can go and "stopped down" to f/2.8 is bordering on miraculous by comparison.

Your hyper-primes do not perform @ T0.95 the same as they do at T2 or T4. They're sold on their ability to go there, however. My F Zuiko 50mm looks good at f/1.8 but not near as good as it does at f/2.8 and I can say the same thing about every Nikkor I own and all of the L-Series Canon glass that I've borrowed from a buddy. Fully open they range from unusable to okay. They're never marketed or recommended for wide open shooting but everyone wants to know they can go there and wants a reasonable level of usable quality.

Given how poorly the competing adapters work, at the focal length you're currently allowing demonstrated, at the stops being discussed, you seem overly cautious. I don't really understand.

Just as a point of reference, here's a rather striking, somewhat recent, anamorphic motion picture where the DP and filmmaker purposely lived down in the dirty, wide open areas of expensive cinema anamorphics, where they knew they weren't getting the IQ Panavision customers expect to see. God bless them for it, because it's a great looking film that stands out in a sea of conformity and discrete, antiseptic imagery:

http://www.theasc.com/ac_magazine/October2012/KillingThemSoftly/page1.php

@stip the V2 anamorphic adapter that @ed_lee83 tested had a smaller form factor but has a "cap" kind of hood with no filter threads. V3 has a slightly larger form factor to accommodate for 77mm front filter threads.

@slrmagic "V3 has a slightly larger form factor to accommodate for 77mm front filter threads."

Does that mean the filter gets this thread, or will it fit on 77mm Lenses? I actually only own 77mm (like the Samyang 35mm) lenses, and I'd love to use this adapter with them?

@CameraRick @BurnetRhoades Our SLR Magic 35mm T1.4 CINE II has 52mm filter threads to the SLR Magic Anamorphic Prototype V3 has 52mm rear filter threads. To accommodate for Diopters the lens has a front filter thread of 77mm so you can use 77mm diopters/close up filters on the Anamorphic.

You use a 77mm->52mm step-down ring. What's the problem?

There are no and likely never will be any anamorphic adapters with a 77mm rear element. If there was they would either be softer than the LA7200 or they would be the most amazing, polished by German faeries, glass on the planet and cost as much as a house, IMO.

@BurnetRhoades well if that works, then no problem - if not, Dealbreaker. I don't know if that's a possible solution. Usually then the Adapter gets a bit further away from the first element of the Lens, don't know if that's obsolete or not.

@slrmagic

Ooooooooo, looking good Andrew!

That's because most of that daylight footage is stopped down, broad daylight. At f/8+ it's going to be very difficult to tell anamorphic from cropped spherical.

What this footage shows very effectively, by being stopped down, broad daylight footage, is how much better at the edges this prototype adapter is than either the LA7200 or Century Optics adapter. All of the locations Andrew shot at are rich with texture and detail, in the center and at the edges of frame. At least paired to something the size of the BMCC.

It beats dull focus charts that's for sure.

His next round of imagery is reportedly going to be via the 17mm on a GH3 which should show what's really happening at the edges of the adapter and not the edges of the "sweet spot". I'm hoping he also shoots some footage on a Speed-boosted GH2 or GH3 and as wide as he can before vignetting.

That's too bad. I wonder why Andrew mentions it in a comment relating to the anamorphic. With the physical specs on this adapter it sounds doable, since 18mm is doable on a GH2 with a similar adapter.

A big part of this, I think, was shooting 35mm with the smaller sensor and framing lots of wider scenes while stopped down. I like the 35mm focal length on the larger GH2 sensor for normal 16:9 shooting, if I can be at apertures of f/4 or wider (same story with that focal length on film).

Stopped down it's an absolutely boring focal length without the character of a true wide or telephoto. But Andrew said he purposely didn't use any ND because they all (especially on a BMD) affect color and sharpness. Since this adapter isn't a known quantity yet it's best to shoot purely with it. For meaningful tests you need to control what variables are going to influence the results. (I've yet to see what I'd call a good test of the Speed Booster with meaningful conclusions on edge performance because of this)

24mm is a much better feeling focal length with a 1.33x at the 19mm sensor size of the GH2 so I'm betting 17mm + 1.33x would have a similar feel on the BMCC, or slap a Speed Booster on it and use the SLR Magic 25mm.

@jcbouden Our anamorphic lens should not be used with any sort of Speed Booster, Light Cannon, or Lens Turbo.

How the anamorphic lens performs depends on the quality of the taking lens as well.

If you look halfway through this review you can see all lenses perform differently towards the corners with lenses using some sort of booster with the worst performance towards the extreme edges.

http://3d-kraft.de/index.php?option=com_content&view=article&id=138:adorable-35s-35mm-speed-lens-comparison-leica-slr-magic-mitakon-canon-speedbooster-samyang&catid=40:camerasandlenses&Itemid=2

Boosters may increase the center sharpness and increase the stop of light but at the sacrafice of mid to extreme corner IQ and this would cause bad IQ on anamorphic format. Subsequently you may have to stop down the aperture to f/5.6 to balance out the effects and you end up with a slower anamorphic lens.