Canon FD 24mm f2 as standard lens for GH1, GH13, GH2, AF100

lpowell, can you please upload pictures or videos taken by the lens? 40mm is quite nice match with 20mm pancake.

In 16:9 mode, 40mm * 1.85 = 74mm.
 
lpowell, how about adding lumix 14mm 2.5 to your set?

HTML: 
lumix 14mm 2.5  
lumix 20.7             43% narrower
fd 28mm 2.0            40% narrower
ar 40.8                43% narrower
ar 57.4                43% narrower
fd 85.4                32% narrower
What a set of focal lengths.
 
stonebat said:
In 16:9 mode, 40mm * 1.85 = 74mm.
Click to expand...

Is that the most accurate way to determine 35mm full frame equivalent focal lengths for the GH1? I was under the impression that 1:2 was roughly the right ratio.

Barry Green posted this chart some time ago, and although useful and accurate, it has no mention of the GH cameras, other than AF100. Apparently the AF100 has a differently sized sensor to the GH cameras.

http://www.dvxuser.com/V6/showthread.php?227826-Relative-Focal-Length-Angle-of-View-and-CCF-Chart

I'd love a definitive answer to this, as it's been quite confusing.
 
For GH1 and GH2, 1.85x crop factor in 16:9 mode thanks to the supersized sensor.

For Canon 1.6x camera, it has effectively 1.7x crop factor in 16:9 mode.
 
Hey Stonebat - thanks for that, but what are your sources for working that out please?

I know that the GH1 an GH2 sensors are oversized, so that in 16:9 mode they are wider than the AF100, but how much wider I can't say, as I've never seen a good example.

I also know that the 35mm full frame sensor of 5DII etc. has to be cropped to 36mm x 20.3mm to get a 16:9 aspect, so it becomes very complicated to work out exactly. I'd love to see a chart, like Barry's but with gh1 and 2 on there as well as AF100.
 
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Yeah, I do try not to concern myself with crop factor, as I know it's all bollocks, but i have been using a stills camera for 20 years, and then a Canon 5D for another 4 years, so it's logical for me to want to get a 50mm standard lens.

So, I bought the 24mm f2 rather than the cheaper 28mm f2 just to have that "standard" familiarity. If it's really a 1.85 crop, as you say, I would have been better off buying the cheaper 28mm! Doh!
 
stonebat said:
lpowell, how about adding lumix 14mm 2.5 to your set?
Click to expand...
I corrected a couple details in your list and added my Canon FD 135mm f2:

lumix 14mm f2.5
lumix 20mm f1.7 43% narrower
fd 28mm 2.0 40% narrower
ar 40mm f1.8 43% narrower
ar 57mm f1.4 43% narrower
ar 85mm f1.8 49% narrower
fd 135mm f2.0 59% narrower

As you can see, the Lumix 14mm is the slowpoke of the group, sadly stuck at f2.5. And I've already got four other auto-focus M4/3 lenses that cover 14mm:

Olympus 9-18mm f3.5-4
Olympus 14-54mm f2.8-3.5
Panasonic 14-50mm f2.8-3.5
Panasonic 14-45mm f3.5-5.6

That's not even counting the Lumix kit lenses: 14-42mm f3.5-5.6 and 14-140mm f4.5-5.6!

How many 14mm lenses does this system need anyway?
 
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Lucas Adamson said:
Yeah, I do try not to concern myself with crop factor, as I know it's all bollocks, but i have been using a stills camera for 20 years, and then a Canon 5D for another 4 years, so it's logical for me to want to get a 50mm standard lens.

So, I bought the 24mm f2 rather than the cheaper 28mm f2 just to have that "standard" familiarity. If it's really a 1.85 crop, as you say, I would have been better off buying the cheaper 28mm! Doh!
Click to expand...
If you do hand-held and apply software image stabilization, software zooming on 24mm video would give FOV from 28mm.
 
Here's a music video outtake:

Hexanon 40mm f1.8/ISCO Widescreen 2000
Panasonic GH1 Anamorphic Cinemascope Patch
Premiere Pro CS5/Magic Bullet Colorista

 
lpowell, how is Magic Bullet Colorista compared to Magic Bullet Looks? I sorta regret getting MBL instead of MBC.
 
To be honest I wasnt that impressed with the 40mm hexanon...sharp at f2.8 but bit too soft at f1.8...doing a bit of research it seems to be common for the hexanons.
Nice bokah though I probably will sell mine. The Nikon 35mm f1.8G DX is a more perfect match to the 20mm f1.7...very sharp wide open.
 
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