12.5mm Mir f2

A 16mm format lens. This lens can be mounted to the Panasonic GH5/GH5S or Blackmagic Pocket 4K, which are micro 4/3 mount. Cameras with larger sensors, like the Sony A7s, can still accept this lens, but it will vignette, significantly. So a m4/3 mount would be most appropriate.

This lens gives any footage you shoot a classic 16mm/’home-movie’ look to it. I say 16mm, although Micro 4/3 is still bigger than 16mm. People will still have to crop in post slightly from 4K to about 3K or 2.7K. This lens is the widest, so it vignettes the most, as wide lenses often do.

What is most appealing about 16mm lenses is the color/colour. The 16mm look is hard to achieve in post, without the use of this set of lenses. I would recommend people wanting to color their movie like a 16mm lens, check these lenses out to get a feel for what 16mm color looks like.

The color looks faded, dreary, and yet in an acceptable way. There is a difficult, discern ability between the color/colour yellow, transitioning into brown. I like to call this the Old/New Banana look. Bananas are yellow, but then transition to brown rather quickly. There is hardly an in-between the yellow and brown for color change. These lenses feel like they have a better color/colour representation of what that in-between color transition would be for that banana to be in between yellow and brown. Which is a more amber color, bordering on being a lavender color.

This adapter works to adapt the lens to m4/3 mount: