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 may still want to crop in post slightly from 4K, but being that this is a 50mm lens, it is not necessary to crop this lens, as it is the 12.5mm and the 20mm. This one only vignettes, only softly on m4/3. So it can be very appealing to leave un-cropped.
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: