While browsing the internet, I found a dirt-cheap lens set:
A 50 mm f/1.4 C-mount lens on a Canon C to EOS-M adapter. Since I have an M50, this might work, but I'm wondering if this small lens fully illuminates the camera's APS-C chip, meaning: Will it cause vignetting?
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C-Mount generally does not illuminate APS-C. There may be some exceptions, but these lenses are often only for Super 16 films that only have a picture diagonal of 14.5mm. Even on a Micro Four Thirds camera with ~22mm gives the extreme vignette. Depending on the objective, you get only one picture bubble in the middle of the picture.
If you want a cheap 50mm that illuminates APS-C, there’s something from China:
https://www.aliexpress.us/item/3256807515312531.html
A Canon FD or Minolta Rokkor 50mm f/1.4 or you can also find the 50-60€ with some luck.
Hello
Some Canon camera types (M50, 200D, 250D, R100) have UHD video with direct sensor readout so a crop factor of almost 2.3. And without autofocus.
These results in an active sensor surface of 10×6.5mm or in about 16mm academy analog film. This can be easily illuminated with Industrie C Mount with 12.6mm image circle, because adapters need a "slender" lens because it sits a few mm sunken in the mount adapter. So some electric C Mount types don't fit. Canon APS-C is around 27mm image circle.
Most of the "cheap" C Mount optics are CCTV types for TV resolutions up to about SD and "optimized for grid frequency". This is why you have to look at whether the C Mount optics are designed for SD, HD, FHD/2K, 4K, 5K or 6K, which is then usually also on the housing The higher the resolution is so expensive. Of course, you can also mount a TV/SD optics in front of a UHD sensor that gives a soft/soft look for beauty shoots. Some call it "toylens" look. CCTV optics are designed for later analysis of mostly Momochromic video material, as it is then selectively "sharpened" if necessary. The "soft" image is not a problem for video surveillance on small monitors.
C Mount optics for 4K and upward resolutions are available at Computar, Schneider/Kreuznach, Ricoh/Pentax or Kowa
C Mount was originally calculated for the pathe 9.5mm, 16mm and 1" Vidicon image circle. There were/is given C/CS Mount optics from 8 to 22.5mm. The industry standard for CCTV is 12.6mm (1/2"). After 1960 there were 1.5% Vidicon TV tubes from Hitachi and Toshiba and there were 1.3" tubes in Europe. First of all as a "sweet light tubes" for indoor reporations or sports events with long teles and later as color picture tubes.
For this purpose, special C Mount TV optics were developed with usually 17.5mm image circle, which were then used after 1965 for Super 16mm (Arri, Aaton, Canon, Elicar) often the rotating teams worked with the same optics on TV and 16mm. They made TV in ENG for news and live broadcasts and 16mm film for EFP/Telecine. From 1970 onwards, there were super 16 optics and progress in film emulsions and cine optics, a "cine filmable" technique that was used for the action rotation in Bond films (Willy Bogner). For Bond films, Angenieux, Schneider Kreuznach and Zeiss built special optics for Ultra 16 (Open Gate) with over 22mm image circle, which was then recopied to 35mm.
C Mount is probably available for a wide range of image circles, but they are all smaller than APS-C… so yes, the image circle is most likely much too small for the sensor and can only illuminate a part. Your problem is then less a “virtualization”, but that many blacks out
C-Mount is actually 1 inch (ca 25.4 mm) thread. That was THE standard measure for affordable film cameras. There should be a round picture with black corners. As from almost 40 mm thread, it works without black corners, but not completely without vignette.
M40 lenses work in any case on EOS cameras (just that you have to adjust everything by hand). It should be narrow at 25.4 mm (1 inch).
Best to ask for: https://lumiere-shop.de/product/adapter-c-mount-an-canon-eos/
Yes, vinested or is very unsharp at the edge.