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. This lens vignettes slightly less as you zoom in, so depending on how wide, or tight the shot. It will depend on how much you will have to crop the shot, in post.
This lens is very good and pretty sharp wide open with an incredibly fast f stop for a zoom lens. The only downside would be that it does not focus close, and so the other prime lenses will have to suffice for macro shots, being this lens can only focus within 2 meters, or 6 feet 6 inches.
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 lens has a native m42 mount, but no normal m42 to ef adapter will work , because this lens has deeper threads and a closer flange. So the only way to adapt it is to m4/3, using this adapter: