November 18, 2014

BMPCC & GH4 Users, Meet Veydra's New Micro 4/3 Mount Mini Primes

Image quality doesn't just depend on which camera you shoot on. If you shoot on a Micro 4/3 camera, you know all too well that it also mostly depends on your lenses.

Micro 4/3 cameras like the BMPCC and GH4 offer such great features for indie filmmakers on a budget, like shooting 4K and great dynamic range. However, using premium cinema glass with one either means selling your kidney for a single lens, or adapting non-native lenses (lens adapters, stills lenses, or imitators -- stills lenses trying to pass off as "cinema" lenses), which may degrade your final image.

That's why these new mini cinema primes from Veydra are so exciting; because not only were they specifically made for filmmakers using Micro 4/3 cameras, but you can purchase the entire set (five lenses) for the price of a single 35mm cine prime.

Creator Ryan Avery started a Kickstarter campaign for the Veydra Micro 4/3 mini cinema lenses, and talks at length about them in his campaign video -- which also happens to feature Matthew Duclos of Duclos Lenses, as well as Ilya Friedman of HotRod Cameras.

These lenses were not adapted for Micro 4/3 cameras, but built for for them, aiming for the quality filmmakers would expect out of a cinema lens, all while keeping prices reasonable. Avery says:

Every cinema quality necessary detail has been brought to reality in these lenses including a smooth 300 degree focus range, constant T Stop, 9 blade iris for a round pleasing bokeh, high quality aluminum housings, brass plated mount for long term durability, 77mm filter threads for easy filter changes, and mattebox compatible 80mm front diameter for all lenses. All of these details combine to make lenses that should cost many times the price offered here.

Features

  • Resolution that exceeds 4K
  • Cinema 0.8 module focus and iris gears
  • Consistent front 80mm outside diameter & 77mm filter threading
  • Similar length for quick lens changes
  • Constant T2.2 aperture for easy lighting set ups
  • Brass plated mounts for durability
  • 16mm, 25mm, 35mm, and 50mm lenses (12mm ships June 2015)

Pricing

  • $699: Your choice of any one Veydra Mini Prime Lens
  • $2499: Set of four: 16mm, 25mm, 35mm, and 50mm lenses
  • $3199: Set of all five: 12mm (Ships June 2015), 16mm, 25mm, 35mm, and 50mm

All lenses (except the 12mm) ship January 2015.

Veydra 50mm cine prime
Veydra 12mm cine prime
Veydra 16mm cine prime (side view)

Even though there was a little bit of test footage in the campaign video, it's clear that before anyone can feel comfortable dropping a massive chunk of change on lenses they'll have to see more. Veydra plans on releasing several more videos in the days to come.

If you're interested in learning more about Veydra mini primes, head on over to its Kickstarter campaign    

Your Comment

56 Comments

Looks awesome, I'm excited to see more text footage, but I feel like i'd rather rent them the purchase.

November 18, 2014 at 9:49PM

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Greg Accetta
FILMMAKER
90

I'm glad companies are starting to catch on. I'd love to see this but for full frame/super35 sensors. I know the Rokinons exist but they're plastic lenses. I want to see something around this price point or a bit higher (~under 4,000 for a set) with quality that at least splits the difference of Rokinon and the entry level PL cine glass. Indie filmmakers deserve quality glass that's relatively cheap. The BMCC of lenses.

November 18, 2014 at 10:06PM

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That's unlikely. Part of the reason they can be this cheap is that they are smaller. The glass elements are smaller and therefore exponentially easier to manufacture to high quality tolerances. Could full frame/super-35 glass be cheaper than it is. Yes. And I hope these guys are successful and either inspire someone else to get into the space, or for them to do it themselves. But they will not be this cheap, not if they are to compare in build and optical quality to their direct competitors like the Zeiss cp.2's or Canon Cine Primes. And these lenses look good, but we are far from knowing if they are comparable to the Zeiss or Canon counterparts. I use those as an example because he makes that comparison in price in the video. But I agree. I would love to see some less expensive quality built glass out there.

November 19, 2014 at 9:17AM

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Michael Markham
Actor/Filmmaker
744

I'm glad companies are starting to catch on. I'd love to see this but for full frame/super35 sensors. I know the Rokinons exist but they're plastic lenses. I want to see something around this price point or a bit higher (~under 4,000 for a set) with quality that at least splits the difference of Rokinon and the entry level PL cine glass. Indie filmmakers deserve quality glass that's relatively cheap. The BMCC of lenses.

November 18, 2014 at 10:06PM

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what would happen if you put a metabone speedbooster on lense specifically designed for micro 4/3

November 18, 2014 at 11:17PM

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Roraigh Price
Runner, Reasercher, Asistant Editor
161

adapting it to what? You're iphone?

November 18, 2014 at 11:32PM

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matt
854

It wouldn't work as it would vignette as crazy, I believe.

November 19, 2014 at 12:54AM

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Olof Ljunggren
Student
199

A M4/3 SpeedBooster for M4/3 lenses is not possible for a couple of reasons...

1- Lenses would not focus at infinity any more

2- The SpeedBooster would not cover the M4/3 sensor size

November 19, 2014 at 7:34AM

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Guy McLoughlin
Video Producer
32649

Chinese made. New company. Will be interesting to see how these stack up (optically) to existing native micro four thirds and adapted stills glass from the EF mount in the same price range.

November 18, 2014 at 11:17PM

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Andrea
Amateur enthusiast
93

The biggest reason why I think they'll be great optically is because Matthew Duclos helped designed the lens. If you don't know who he is, look up Duclos Lenses, or talk to anyone who operates/own cinema cameras and cinema lenses.

He's definitely highly respected.

November 20, 2014 at 6:45AM

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Joe Gunawan
DP/Camera Op/1st&2ndAC/Commercial Photographer
413

These lenses look great, though I kind of wish they were a bit faster than T2.2, seeing as they're made for Micro 4/3 natively. That said, I'm definitely interested in seeing more test footage.

November 19, 2014 at 12:56AM

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Jaime Valles
Filmmaker
405

Faster lenses would either lower the image quality or triple the price. My biggest complaint with Samyang "cine" lenses is that produce a poor image at full aperture, so you end up having to stop down 1-2 F-stops to get a usable image.

November 19, 2014 at 7:38AM

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Guy McLoughlin
Video Producer
32649

Indeed. I bought the Rokinon/Samyang 24mm T1.5 and it was practically unusable when wide open. Sold it within a month. Perhaps if these sell well they could then make a "super speed" set for those of us hooked on fast lenses, even if they're a bit more expensive (say $6000 for the set).

November 19, 2014 at 1:11PM

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Jaime Valles
Filmmaker
405

I have the Voigtlander f/0.95 lenses and they are great. Even wide open they are very sharp, but f/2.8-f/5 is where it's the sharpest, but I have no problem shooting at f/0.95 because it just lets in so much light and as long as your subject is within five-ten feet then focus is really not a big issue.

I currently have the 17.5mm and 42.5mm lenses, but plan on getting the 25mm and the 10.5mm lens when that one is released, I really love these lenses.

November 19, 2014 at 6:40PM

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Julian Faras
Editor, Cinematographer, Director
452

Good lord, I hope nobody is shooting at more than a 2.2/2.8. How do you keep anything in focus?

November 19, 2014 at 3:54PM

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Zack Wallnau
Cinematographer & Tinkerer
699

Yeah I've got a set of the rokinon primes and I can't say the softness at wide open cripples me at all. I just look at them as f/1.8s. One of my pet peeves is seeing shots where only part of a face is in focus. 98% of the time it's not a justified effect, but rather "look what I can do."

November 19, 2014 at 6:05PM

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It wasn't about the softness, it was about the clarity. I shoot with f/0.95 lenses all the time wide open, and even though they're soft, they don't look mushy. The Rokinon 24mm Cine Lens I bought simply didn't look good. My SLR Magic 25mm f/0.95 looks WAY better wide open than the Rokinon 24mm. That said, it's entirely possible that I just had a bad copy of the Rokinon and that other copies are fine.

November 21, 2014 at 2:15PM

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Jaime Valles
Filmmaker
405

Yeah I've got a set of the rokinon primes and I can't say the softness at wide open cripples me at all. I just look at them as f/1.8s. One of my pet peeves is seeing shots where only part of a face is in focus. 98% of the time it's not a justified effect, but rather "look what I can do."

November 19, 2014 at 6:05PM, Edited November 19, 6:05PM

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Since it's a m43 mount the DOF is not even close to as shallow as on a full frame. On the Pocket camera the DOF is even greater, so it's very easy to keep things in focus.

November 19, 2014 at 6:42PM

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Julian Faras
Editor, Cinematographer, Director
452

The sphere which a lens renders in focus is not in any way, shape or form influenced by the size of the sensor that it is projecting onto. A lens displays the exact same precise DOF no matter which camera you mount it too.

Test this for yourself, grab a lens and a piece of paper. Go into a dark room, point the lens at a string of lights until you are projecting an image of the lights onto the paper. Now swap the paper for a different sized piece of paper, notice how the image being projected is still the same.

November 19, 2014 at 10:42PM

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*Not sphere, roundedish squashed sphere like planar type shape

November 19, 2014 at 10:43PM

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I have two f/0.95 lenses and I use them wide open all the time on my GH4. Focus is tricky but with practice it's doable.

November 21, 2014 at 12:14PM

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Jaime Valles
Filmmaker
405

It's not like we will need that much light in future sensors..... If anything of what Sony is up to is true, then 2.2 is just fine.

http://nofilmschool.com/2014/11/new-sony-sensor-may-offer-21-stops-dynam...

November 20, 2014 at 7:19AM

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Torben Greve
Cinematographer
741

This is tempting. But I can't say for how long i will be sticking with the M4/3 camera. I'm cool with 1080p from my Bmpcc, but I guess if something better comes along, it's not like i can't just sell them..... decision, decisions.

November 19, 2014 at 2:05AM

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Vincent Gortho
none
537

I'm with you on this as awesome as this sounds I'd definitely be looking to upgrade to another camera from my BMPCC eventually and that would likely be an ef mount making the investment on M4/3 lenses hard to swallow

November 19, 2014 at 2:30AM

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Charles C.
Editor/ Director/ Director of Photography/ Wannabe Thinker
915

I'm with you on this as awesome as this sounds I'd definitely be looking to upgrade to another camera from my BMPCC eventually and that would likely be an ef mount making the investment on M4/3 lenses hard to swallow

November 19, 2014 at 2:30AM

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Charles C.
Editor/ Director/ Director of Photography/ Wannabe Thinker
915

couldn't you use the metabones .71x adapter, instead of the .58x? The .71x adapter would make the focal crop about 2.0, right?

November 19, 2014 at 2:10AM

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Vincent Gortho
none
537

Oh, wait. that wouldn't work. der. there is no M4/3 to M4/3 mount speedbooster. Drats!

November 19, 2014 at 3:05AM

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Vincent Gortho
none
537

So tempting...

November 19, 2014 at 4:21AM

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Álex Montoya
Writer/Director
436

A good idea would be buying the set of four and completing it with the 10mm T/2.1 HyperPrime.

November 19, 2014 at 4:38AM

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Álex Montoya
Writer/Director
436

I love the idea of cheap primes for MFT, but doesn't that kinda negate the effect of having an MFT mount? In my understanding, having MFT mount means you can use pretty much ALL the glass out there - you just need to buy a simple adapter, or speedbooster, and you can use glass that you already have. When looking at upgrading the camera you can probably take that glass with you.

I use the BMCC with MFT mount and am happy with it for now, but I'm always looking at new cameras. Even though I see no direct need to upgrade the camera now, I know I will be upgrading it sooner or later. The camera's I'm looking at right now all have EF mounts, PL mounts or highly adaptable mounts like the FS7. Not MFT (sadly).

So although this mount is great for it's adaptability, how valuable would specific MFT primes be in the long run? What are your thoughts?

November 19, 2014 at 4:56AM

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Jeroen Rommelaars
Animator - Videographer - Motion Tracking
731

A set of primes is homogenic and you don't need to rely on adapters with their own quirks.

And they will retain a much better resell value than the camera itself. Doesn't sound like a bad idea.

November 19, 2014 at 5:29AM

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Álex Montoya
Writer/Director
436

Of course the glass will keep value and direct primes are probably better any day than adapted primes. The point however that I was trying to make is that if you own a MFT camera now and are looking to upgrade it chances are that you will not be able to use the glass anymore. You can sell it of course, but the bottomline is that MFT primes are probably more temporary than...say...EF primes or PL primes. From that perspective I'll have to re-ask the question: How valuable are MFT primes in the long run (for your videography, not for reselling purposes)?

PS: not saying its a bad idea to invest in them though. If you plan on staying with an MFT cam for...+/- more than 1 year it may be worth the investment and reselling hassle.

November 19, 2014 at 5:39AM

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Jeroen Rommelaars
Animator - Videographer - Motion Tracking
731

Agreed. I must say that I really like the MFT sensors. Small cameras with deeper depth of field. That can be a good thing for example in night exteriors. I don't see myself getting rid of my Pocket for my personal stuff andytime soon.

November 19, 2014 at 5:55AM

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Álex Montoya
Writer/Director
436

For the pocket it makes a lot more sense - since that camera has an MFT mount and is tiny..so you want tiny lenses if possible in order to keep portability. I can imagine using these lenses handheld on the pocket (although it may be a bit overkill to strap on cinelenses for handheld use like this)

November 19, 2014 at 6:11AM

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Jeroen Rommelaars
Animator - Videographer - Motion Tracking
731

Unless, if possible, they could just stick a nikon mount on the lense, so that it could be placed on the .71x speedbooster which makes the bmpcc a 2.04 crop. To far out here?

November 19, 2014 at 6:00AM

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Vincent Gortho
none
537

You are assuming that any camera upgrade won't be to another M4/3 camera, which I think is a big assumption to make. Better M4/3 cameras are coming in the near future.

November 19, 2014 at 7:47AM

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Guy McLoughlin
Video Producer
32649

Not really assuming. I just pointed out that none of the camera's that I am currently looking at for possible upgrades have MFT mounts at the moment.

But really, do you think the small MFT sensors will ever evolve out of the prosumer/lower end pro spectrum of gear?

November 19, 2014 at 8:18AM

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Jeroen Rommelaars
Animator - Videographer - Motion Tracking
731

>>>But really, do you think the small MFT sensors will ever evolve out of the prosumer/lower end pro spectrum of gear?

No, but I think we are going to see "ALEXA" like quality in the prosumer price range ( under $10K ) within the next 2-3 years.

I am very curious to see what Panasonic does with their 14+ F-Stop dynamic-range organic-sensor tech that should be in cameras next year.

November 19, 2014 at 11:06AM

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Guy McLoughlin
Video Producer
32649

Voightlander M4/3 f/0.95 primes cost $1K+ each and are easy to buy or sell, so I don't see these lenses being any different provided they perform well at full aperture.

November 19, 2014 at 7:44AM

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Guy McLoughlin
Video Producer
32649

Here's a direct link to the Vimeo video of the campaign. You can DL the original 1080 MP4. It looks very good.

http://vimeo.com/111990027

November 19, 2014 at 6:20AM

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Álex Montoya
Writer/Director
436

Thanks, kickstarter's video codec has some of the worst compression artifacting I've ever seen.

November 19, 2014 at 12:20PM

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Chuck McDowell
1st AC
548

So does dedicated to M-4/3 means that these lenses cover a M-4/3 sensor? Is there a crop factor? Will I need to use ETC?
If they don't cover the sensor with a 1X image, then I don't see what the big deal is all about.

November 19, 2014 at 7:07AM

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Jerry Roe
Indie filmmaker
877

These are M4/3 lenses so obviously they cover any M4/3 sensor, and probably a little larger. ( the JVC camera coming next year has a M4/3 lens mount with a larger Super35 sensor )

November 19, 2014 at 7:52AM

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Guy McLoughlin
Video Producer
32649

Yes, these lenses will cover a micro 4/3rds sensor and the super 16mm sized sensor the BMPCC has. That's what they're designed to do. There will always be a crop factor when using a sensor smaller than a full frame one. The focal length doesn't change from one sensor (or film size) to the next. The angle of view will. The BMPCC has a larger (around 2.88x) crop factor than the GH4 (around 2x). For example, if you want the same angle of view a 50mm lens on a full frame camera, you'd need a 25mm lens on a GH4 (25mm x the crop factor (2) = 50mm) or a around 17mm lens on a BMPCC.

November 19, 2014 at 7:59AM

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K W
341

I'll stick with my old Canon FD glass. The crop factor being the same..... I really don't see any advantage to using this glass except for maybe click-less stops and a longer travel on this focusing ring. Filters will be more expensive also. A Metabones speed adapter will make my 50MM f/1.8 lens, effectively, a 70mm f/1.4 or a 28mm f2.8 a 40mm f2.0.

November 19, 2014 at 9:05AM

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Jerry Roe
Indie filmmaker
877

Ya the crop factor kills me on my bmpcc. I'd rather get an adapter for EF glass and use cinema EF lenses.

November 19, 2014 at 1:05PM

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Caleb Price
Director
267

When Digital Bolex releases their m43 mount these may prove to be an even safer investment. Think what you want about that camera but the more cameras using m43 mount, the easier it will be to sell these if you decide you aren't happy with them or move to a different camera system.

November 19, 2014 at 1:17PM

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Mark Hinchey
Shooter
152

I really like this set of lenses at these price points. I'd much prefer these to over S16 vintage C-mounts on an M43 mount. The only thing missing is an ultra wide that will provide a 20mm FF equivalent. Otherwise it looks like very well thought out lens line with value in mind.

November 19, 2014 at 1:42PM, Edited November 19, 1:42PM

7
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Marc B
Shooter & Editor
615

If they sell well they will likely extend the lens range, both wider and longer lenses would be a good bet.

November 19, 2014 at 5:37PM

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Guy McLoughlin
Video Producer
32649

Hail Veydra.

November 20, 2014 at 2:49AM

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Lloyd Will
Film maker
163

So, can they add a little weight to the lighter lenses (and maybe distribute that weight) so they all weigh the same and have the same size so that you don't have to re-calibrate your ronin, movi, or other gimbal of choice when switching lenses?

November 22, 2014 at 11:17PM

4
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The look is promosing and if Matthew Duclus was involved in the design even more so.

November 23, 2014 at 10:28AM

2
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Good also for BMCC m43 correct ?

November 24, 2014 at 12:51PM

2
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Roberto Mettifogo
Behind Cameras.
364

Yes, any camera that works with standard Micro 4/3 manual lenses can use these prime lenses.

November 24, 2014 at 6:01PM

0
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Guy McLoughlin
Video Producer
32649

Yes, any camera that works with standard non-electronic manual Micro 4/3 lenses can use these prime lenses.

November 24, 2014 at 6:03PM

0
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Guy McLoughlin
Video Producer
32649