Blackmagic Camera 4K Pl Mount

[0.245 lb] I own (and love) my newer Blackmagic Design 6k camera with full frame sensor and Leica L mount. I also have a number of wonderful new and old Zeiss PL mount fixed cinema lenses. (18mm - 200mm) So when I saw this adapter for sale at B&H, along with a good review of it, I took the plunge. I am not disappointed. With this adapter, a fairly heavy Zeiss lens with ARRI PL mount, like their CP.2 25mm for example, hangs off the Blackmagic camera with no discernible wiggle. The lens goes on and off a bit tight, but hey, that's what I wanted. It looks great too, with excellent machining and black surface coating. Note that — nothing to do with this excellent adapter itself — my oldest 1970s vintage Zeiss Super-16 lenses, while still producing great images, do vignette at the image corners, from 9mm to 16mm when the Blackmagic camera is set to FF 6k, exactly as I expected. But I could not have verified that without this Simmod adapter. Note also that simply changing the Blackmagic camera setting to capture a more restrictive Super-35 4k size, allowed more of my older PL mount Super-16 lenses to be used. The lens coating on those older Zeiss is not quite as nice as the newer CP.2 or CP.3 but still hard to see much difference in most lighting conditions. Again, this Simmod adapter allowed me to test all this.

I own (and love) my newer Blackmagic Design 6k camera with full frame sensor and Leica L mount. I also have a number of wonderful new and old Zeiss PL mount fixed cinema lenses. (18mm - 200mm) So when I saw this adapter for sale at B&H, along with a good review of it, I took the plunge. I am not disappointed. With this adapter, a fairly heavy Zeiss lens with ARRI PL mount, like their CP.2 25mm for example, hangs off the Blackmagic camera with no discernible wiggle. The lens goes on and off a bit tight, but hey, that's what I wanted. It looks great too, with excellent machining and black surface coating. Note that — nothing to do with this excellent adapter itself — my oldest 1970s vintage Zeiss Super-16 lenses, while still producing great images, do vignette at the image corners, from 9mm to 16mm when the Blackmagic camera is set to FF 6k, exactly as I expected. But I could not have verified that without this Simmod adapter. Note also that simply changing the Blackmagic camera setting to capture a more restrictive Super-35 4k size, allowed more of my older PL mount Super-16 lenses to be used. The lens coating on those older Zeiss is not quite as nice as the newer CP.2 or CP.3 but still hard to see much difference in most lighting conditions. Again, this Simmod adapter allowed me to test all this.

[6.8 x 4.95 x 1"] Wooden Camera produces a quality products.. This PL-mount is no different.

[IEC 320 C13] You need this if you plan on using a blackmagic 4k ultrastudio

[0.065 lb] Works exactly as expected with no issues (with the Blackmagic Pocket Cinema Camera 4K)

[Sony E] Solid well built pl mount

[2.5 oz / 71 g] I use this to mount a battery adaptor and a shotgun mic on top of a BlackMagic 4k pocket cinema camera.

[Metal] Finally I can use my FD lenses on my Blackmagic 4k

You need this if you plan on using a blackmagic 4k ultrastudio

[Video Only] Got this to mount some s16 Zeiss Super Speeds to my BMPCC. Works wonderfully, and the camera keeps a very pro look so no one will freak out if you try to use the BMPCC as a b-cam on set. There were definitely tolerance issues when I mounted lenses that had been adapted to PL mount. But when I tried out and purchased lenses that were factory PL mounts they fit like a glove. I'd blame the after market lens adaptations and not this Wooden Camera mount I ended up going with the Wooden Camera cage too, just for the extra support that this mount offers from connecting to it as will as the camera's mount. I felt like just the MFT mount on the camera could allow for a little play.