GH4: remote power, remote/timelapse,
lens: Lumix 14-45mm, M43 adapters to Canon FD, LM39, Leica M, Nikon AI, Konica AR, Four-thirds (manual), PK, OM (+ support pillar), C mount, C/Y. movie: Mitchell NC, PL & BNCR
Sony A7: remote power, remote/timelapse.
lens: SAL18-55 (APSC), E-adapters to Canon FD, LM39, Leica M, Nikon AI, Konica AR, PK, OM (+ support pillar), C mount, C/Y. movie: Mitchell NC & Pro16, PL & BNCR
Nikon D50: 6M pixel DX stills camera, Nikon capture PC based timelapse/stop frame s/w (via USB).remote trigger
Blackmagic pocket BMPCC: micro 4/3rds, Varavon cage & handle (lens/adapters as GH4)
[also possible to use DoF adapters?, see below]

Mitchell S35R 35mm camera
BNCR primes (35mm), adapters to M43 or NEX:
Canon 14, 18, 20 (f2.8 remounted FD or K35 lenses)
Nikon 50 f1.2
Zeiss 25 f1.4, 35 f1.4, 85 f1.4, 135 f2 (mk 1 superspeeds, ie early Contax remounts)

(1080p video assist possible via BMPCC & video port)

Arri SR2 Super 16mm kit (PL mount) 5.7mm Kinoptic ,9/1.2 ,12/1.2, 16/1.2, 25/1.2 & 15-120/2.8 Zeiss
Newall NNC 35mm camera (Rackover Mitchell circa 1954), Cooke Panchros 24-100mm, Baltar 40, 152mm, Ross 75/f3.5
Mitchell pro 16mm camera (Rackover Mitchell 1960s, Bausch & Lomb Baltar 15, 25, 50, 100mm)
Beulieu R16 (16mm, 8volt, c-mount)
Kodak K-100 (16mm, clockwork S mount)
Cine Kodak BB 16mm Kodak Anstigmat 1" f1.9,
Bell & Howell 627 (16mm, clockwork B&H 627 style threaded breech lock)
Bell & Howell 603 16mm Taylor Hobson Serital
Bell & Howell 141B 16mm Kodak Anstigmat 1" f1.9, C mount
Siemens 16mm (fixed 20mm f2 Schneider K)

+ Several: Bell & Howell & Kodak 16mm clockwork "C" mount etc
Cine Kodak magazine 16mm Kodak Anstigmat 1" f1.9, M mount.
Newman Sinclair 35mm (no primes, can refit Angenieux 24-240) with animation motors.
Morigraf 35mm c1935. (not working: no gate or film mag) Kinoptik f2/25mm
  various other 16/9/8mm cameras..
Digibeta lenses: Canon J9ax5.2B4 (5.2~47mm f1.8), J15ax8B4 (8~120mm f1.8), 9" HR monitor, croziel matte-box. Adapted to M43/BMPCC

Sony DXC-M3A videcom 2/3" colour tube camera, Canon J15x9.5B (9.5-143mm f1.8)
Canon XL1 DV cam (User Manual), JVC GY-HD101 (PAL720p),+ Fujinon Th6x5.5BRMU (5-88 f1.4).

Kodak Specialist mk1 4½ x 4½ plate camera

Sinar (Rodenstock Sironar, W-Nikkor 4.5/150, Congo 135, 210mm)
Nikon FTn
Nikon FM2
Olympus OM1n
Akarette rangefinder (detachable lens) +45mm SK Zenar
Lens adapter  
Allstar system: PL, BNCR, Mitchell NC > to > Red DSMC, M4/3rds, Sony E-mount
Letus 3S Ultimate, lens adapter (Nikon & Canon EF adapters)
Brevis DoF adapter


BNCR primes (35mm), adapters to Red DSMC, M43 or Sony E-mount:
Canon 14, 18, 20 (f2.8 remounted FDs or K35 lenses)
Nikon 50mm f1.2
Zeiss 25 f1.4, 35 f1.4, 85 f1.4, 135 f2 (mk 1 superspeeds, ie early Contax remounts)

Angenieux 24-240 f2.6/T3.8 (academy coverage) adapted to M43, Allstar
Angenieux 18-270 15x18E f1.8 (1" coverage) adapted to M43, Allstar


PL lenses (16mm) adapters to M43 or Sony E-mount:
Kinoptik Tega 5.7mm f1.8,
Cinekowa 9mm f1.2,
Zeiss 12mm f1.2,
Zeiss 16mm f1.2,
Zeiss 25mm f1.2,
Lomo 35mm f2, OKC11-35-1
Zoom Lens: Zeiss/Optex S16 15-130mm f2.4 crozel drag (PL mount only).
Zoom Lens: Angenieux 12-240mm f3.4/5.6

PL lenses (full frame) :
Pelang 8mm fish-eye f3.5 (vignettes at 35mm, ICø27mm, OK 2k Red or S16, M43)
Zeiss 50mm f2 Sonnar, (Arri Std mount/PL adapter)
Helios Biotar 58mm f2,
Zeiss Tessar 80mm f2.8 c1937, very flare prone & white halos. see vintage lens.
Pentacon Sonnar 135mm f2.8,
Zeiss Sonnar 180mm f2.8
Canon FD 200mm f2.8
Pentacon 200mm f4

Arri bayonet

Arri S:
These can be used on PL mount, via adapters, but ergernomics are not ideal, OK via Arri Std>C-mount adapter (& then M4/3 & Sony E-mount).
2 off Schneider Kreuznach (16) Cinegon10mm f2 BMPCC ok
Cooke Kinetal 12.5mm f1.8/t2.BMPCC ok
Schneider Kreuznach (16) Cine-Xenon 16mm f2 Almost covers M43. BMPCC ok but collimation out/no infinity
Schneider Kreuznach Cine-Xenon 25mm f1.4
Schneider Kreuznach Xenon 28mm f2 M43 ok
Cooke speed Panchro 28mm f2 (but in Cameflex mount)
Cooke speed Panchro 35mm f2 M43 ok
Zeiss Biotar 35mm f2
Zeiss Sonnar 5cm T f2 (a few of these, various mounts, even Debrie-Parvo!)
Cooke speed Panchro 50mm f2
Cooke speed Panchro 75mm f2
Zoomar Kilfitt Macro Kilar 90mm f2.8 (u/s: coating issues)
Cooke kinetal 100mm f2.6/t2.8
300mm Astro Berlin Fernbilinse f5 (picture quite soft/low con, not recomended)

Note, the schneider Xenon originally for 35mm, the cine-Xenon for 16mm, but as with the Panchros, the longer focal lengths do cover APSC/Super 35.

NC Mitchell NC Standard lens
(with or without fixed adapters to Red DSMC (vial Allstar mount), M43 or Sony E mount:
Cooke speed Panchro 1" (24mm) f2 (c 1944)
Cooke speed Panchro 35mm f2 (c 1944)
Cooke speed Panchro 40mm f2 ELC (c 1945)
Cooke speed Panchro Series II 50mm f2 (c 1955)
Cooke speed Panchro Series II 75mm f2, one of the radioactive ones.. now somewhat orange glass.
Cooke deep field Panchro 100mm f2.5 (c 1946)
Bausch & Lomb, Baltar 152mm f2.7
Bausch & Lomb, Baltar 25mm f2.3. (c1947, fixed adapted to NEX only)
Bausch & Lomb, Baltar 40mm f2.3, rear glass centre scratch (but 2nd head in Cameflex)
Bausch & Lomb, Baltar 50mm f2.3 (c1950)
Ross Tessar Series 1c 75mm f3.5 (Bell & Howell 2709 housing, c1915)
C mount   C mount lenses
(M4/3 & Sony E-mount via adapters):
Tokina 6.5mm f1.8 "TV lens"
RCA TC1810D EX 8mm f1.4 auto iris, 8 pin RCA control
Computar 12.5mm f1.3 Machined to fit M43 adapter. PBMPCC
Topcor 16mm f1.6 Tokyo Kogaku
CTH Cosmicar (Pentax) 25mm f1.9 vignettes M43, excellent BMPCC
Switar AR 25mm f1.4 lens No.64982 (reduced rear flange, M43 friendly)
Fujia GDS-35 35mm f1.7 (part Mitchell video assist)
Computar 35mm f2.8
Canon TV Zoom v6x16 16-100mm f1.9 (ø58mm) sn157589 (5 pin ctr cable) covers NEX with 1.6x (25-160) Dial style iris. 605gms. BFL too short to allow use of Fujinon 1.5x adapter.
2x Fujinon 16-160mm f1.8 C10x16A-SND2A-M zoom lens

Tarcus 11.5-90 f2 "TV lens". geared, motorised.
Tokina 10-100 f1.6-2.1 "TV lens". geared, motorised.
Erntec 12.5-75 f1.8 "TV lens". geared, motorised.
CTH Cosmicar (Pentax) 22.5-90 f1.8 excellent BMPCC

Taylor Hobson f1.9/1" Serital,. Sonnar.. Coverage ~ ø17mm
Taylor Hobson f1.9/1" Serital, Sonnar.Mint covers BMPCC
Taylor Hobson f1.9/1" Comat,
Taylor Hobson, Ivotal Anstigmat, 2" (55mm) f1.4

Fujinon 1.5x teleconverter. check vignetting without lens.
Tarcus 2x teleconverter,

Kodak S-mount + 4 off C-mount adapters (these are the famous swirly bokeh lenses):
Kodak 25mm f1.9 Cine Ektar (1949)
Kodak 25mm f1.4 Cine Ektar
Kodak 50mm f1.6 Anstigmat (1946)
Kodak 63mm f2.7 Anstigmat (1947)

Schneider-Kreuznach Cine-Tele-Xenar 2.8/75mm ~(1970)


Nikon AI sets:
AI and AI-s lenses: There are pros and cons... AI lenses often have longer focus helix, like movie lenses there is a lot of travel of the barrel to focus, which is good for focus pulling. But the tolerances are tight and with little used/old lenses they can be quite stiff for video work. The build quality of the later AIs lenses and E-series is poorer by comparison, helixi are half the length and often sloppy: quick to change focus, but get worn, and then elements tend to rack picture. Comments are given in relation to still/full frame capability: on 35mm movie (½ frame) or DX digital, frames are smaller and corner softness or vignetting effects are non existant.

Nikkor Ai 24mm f2.8 (ø52mm, Close focus: 1' 9/9g)
Nikkor C Ai'd 24mm f2.8 (ø52mm, Close focus: 1' 9/7g )
Visible ghosting when employed under strongly backlit situations? good flare rejection. Very sharp images corner-to-corner even at the near limit thanks to CRC, but some field curvature if you are shooting perfectly flat subjects at close range. Some light fall-off towards the corners evident at f/2.8, gone by f/4-f/5.6. Best picture quality: f/5.6-f/11. Excellent results when an ultra-thin K1 ring is added, and good results with a 4T close-up lens if some corner softness is accepted.
Vivitar (Kiron) 24mm f2 (ø55mm, Close focus: 1' 180°h) (stuck at f2, use instead of the Nikkor for f2) Coma at F2 and some dreamy glow, gone by f2.8, sharpest at f8. Flares easily. Sticky iris is a common defect with this lens. Pleasant bokeh f2-f4?. Lens is v sharp center, softens towards edges

Nikkor Ai 28mm f2 very sharp images at all aperture settings from f/2 to f/8 with just a trace of corner softness at the wider settings. Slight barreling, Field curvature is modest in terms of wide-angle lenses. Peak performance between f/4 and f/5.6. sharpness suffers beyond f/11 . Unusually resistant to flare & ghosting, eminently suitable for shooting directly into the sun. Cosmetics poor/racking
Nikkor Ais 28mm f2
Nikkor Ais 28mm f2.8 (8 element, best version of this lens, Images taken up close really are extremely sharp in the middle part of the picture and sharpness extends gracefully into the corners. Optimum near-focus sharpness at f/5.6 and f/8. For distant scenes, however, corner sharpness isn't that remarkable and ghosting under adverse conditions can be troublesome. Some corner colour fringing at full frame.)
Nikkor AI/Ais 28mm f2.8 inferior non CRC version

Nikkor Ai 35mm f2.8 [c1980] ( Close focus: 12") the "new Ai" 5 element design. CLA 2012-well used mount. noticable side flare without hood.
Nikkor-S AI f/2.8 35mm, sn238609, bdy, F, elements, P-F, feint?scratches to front optic c1969 7e -later versions were 5e
Nikkor AiS 35mm f2 [c1998] (Close focus: 12") (slight filter ring damage) very sharp throughout the aperture settings, peaking around f/4 . Some ghosting possible.
Nikkor-N AI f/1.4 35mm 1973 fall off over f2.8, best at f4-5.6., Strong coma.

Nikkor Ai 50mm f2 (Close focus: 18") sharp and contrasty at wide apertures. at f/2, there is just a trace of flare and corner softness, beyond f/2.8 it renders excellent image quality. Despite multi-coating, some flare and ghosting result when the lens is pointed towards the sun.
Nikkor AiS 50mm f1.8 (Close focus: 24") Some racking on focus pulls, plastic grip. At F1.8 is a trace of softness into the corners that disappears by stopping down to f/2.8. Faultless from f/4 to f/8. no distortion, unlike the f/1.4 version. (racking on focus pulls: common fault on late AiS lenses, due to shorter helicoids?).

Nikkor Ai 50mm f1.4 (Close focus: 18") The last version before AI Wide open there is some softening in the corners that disappears by f/2.8, At f/4 it gives excellent images, and the quality stays basically the same up to f/8. f/11 & beyond the performance declines perceptibly. Flare levels are low, but ghosting can be provoked by pointing the lens towards bright light sources. mild to moderate barrel distortion.
Nikkor AiS 50mm f1.4 (c1986)
Nikkor Ai 50mm f1.4 . slightly gritty focus
Nikkor Ai 55mm f2.8macro (Close focus:.025m,210°h? 6e/5g) missing baffle & rubber grip

Nikkor Ais 85mm f2 slightly soft look, for a Nikkor. Good IR lens.
Nikkor H 85mm f1.8 c1968 Stiff aperture, focus not smooth much sharper than the f2
Nikkor Ai 105mm f2.5 tremendously sharp images from f/4 onwards. Flare & ghosting resistant.. At f/2.5, the extreme corners are a little soft (due to field curvature), but at f/4 and beyond entire frame is crisp and clear. Image quality holds up well to f16 where diffraction is an issue. IR: ok, no hot spots.
Nikkor Ai 135mm f2.8 (ø52mm, Close focus: 4.5')
Nikkor Q 135mm f2.8 (ø52mm, Close focus: ?m), rough focus
Vivitar/Tokina 135mm f2.5
Zeiss 180mm f2.8 Nikon convert (needs attention!)
Nikon Lens Series E Zoom 75 -150mm f3.5

Nikkor AF-n 180mm f2.8 -possibly the best 180mm ever.

Canon FD Canon FD:
Canon FD 1.4x A
Canon FD 2x B

FDn 28mm f2.8, Kiron 28mm f2.0
FDn 35mm f2.8
FD 50mm f1.4, FD 500mm f3.5 macro
FD 85mm f1.8
FDn 100mm f4 macro
FDn 135mm f2.5
FDn 200mm f4
FDn 300mm f2.8
FDn 800mm f5.6
FDn 35-70mm f3.5, 70-210, f4, 100-200mm f5.6

Contax RC Contax RC

25/2.8 (AE)
35/2.8 (MM)
50/1.4 (MM)
55/2.8 macro (Yashica ML)
100/3.5 (AE Sonnar)
135/2.8 (AE Sonnar)
180/2.8 (AE Sonnar)


Hermagis objectif cinema 60mm f2.4 c1912. 16 blade iris adapted to NEX.
various Petzval 40-180mm (mostly french projection, Hermagis, Dagor, Siamor etc)
Leitz 90mm f2 Summicron (L39)
Minolta MC, various inc 55 f1.4
Komura 135mm f2 Sankyo Kohki (M42), Ernostar design, v smooth bokeh
Konica/AR 57mm/f1.2/AE, Rare and perhaps the best full frame f/1.2 lens ever made, Typically warm cast to pictures
Konica/AR 80mm/f1.8
Konica 28, 40, 135, 200, 300
Wray Cine-unilite 35mm f2 adapted to M43 & Sony E-mount
Kilfitt makro-kilar D, 40mm/2.8. Tessar. (cf 2" [1:1.1])
Baltars, 100 & 152mm
Rodenstock Heligon 1.9/50mm (M42)

Zeiss Vario Tevidon 18-90 f2 (ex16mm Cine Lens) currently M43 mount, slightly over infinity.

various anamorphic (LA7000, Kowa 16-H, 16C, Proskar etc & .5 dioptre)


Philips PD7032 clamshell DVD player


MONITORS: video assist Peaking 1280x800 HD 5.6 Inch LCD Monitor Kit HDMI PAL/BNC (Sony NP batteries or 4 pin Canon, 7-15v)
Phillips PD7032/05 7" slave LCD monitor (PAL)


Zoom H4n mic/microSD card recorder. USB, mic/Line-in/out, headphone, WAV/MP3.
stereo 3pin Canon. Also works as USB mic/line in. 2xAA battery, or external PSU.

Zoom H1 mic/microSD card recorder. USB, mic/Line-in/out, headphone, WAV/MP3.
stereo 3.5mm jack. Also works as USB mic/line in.
stereo 3.5mm jack > 2x mono 3.5mm jack adapter (50mm).
stereo 3.5mm jack > 2x phono plug adapter.

AKG CK9 shotgun mic, (2½' long shotgun mics, very directional but relatively thin bass response). 2 x AKGb9 phantom power adapter.
Audio technica AT835b (medium shot gun mic, XLR) + AA battery.
Vivitar tvm-1 .& Altai MTLS-10 mics/windshields (mono 3.5mm jacks)
Beyer M58 N(C) stick mic (handheld) + other lavalier mic. XLR
Sony lapel mic, integral battery CR12?, mini jack. (+ minijack to XLR adapter).
other cheapo lapel mic (requires phantom) 3 pin XLR.
other cheapo lapel mic 3.5mm mono jack. 1x button battery. missing croc clip.



see also lights - tripod - site map - SR2 Hire
last updated: 12 Jul 2018