Thread: SLR Magic 25, 50 and 85 APO HyperPrime Cine Set

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  1. #181  
    Very glad I found this thread. I've been torn between a couple options. The Sigma Cine Zooms but they've got their trade-offs - like every lens that's not HUGE $$$. I'd prefer a FF EF mount zoom so I can speedboost (on appropriate camera bodies) but more for additional focal lengths than the speed. But FF Zooms are hard to come by and $$$ too. The new Fujinons are nice but E-Mount only makes it non starter for me. There's also the Fuji 20-120 that's just dropped in price but a little slow at T3.5. So I was also considering just going with some Milvus primes and calling it a day because I do like their image quite a bit and it's a step-up from my current lenses. But it sounds like these SLR APOs may be a solid option.
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  2. #182  
    Senior Member rick.lang's Avatar
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    Quote Originally Posted by neuro81 View Post
    Thank you, Rick.
    I'm looking to see the flares without a matte box, with Sun and a few additional light sources with intentional flaring.
    Would also be great to see the Starburst during a sunset. I'm really considering purchasing a set of these lenses & hoping to stop by B&H in April to check them out.
    Sorry I lost the sun in Paet 4 of the series of tests shot last weekend. I'm trying to schedule flare tests shortly, but I can't be sure as we are into the rainy season here! I want to show you how the APO lenses react with flares induced by the sun. Like my avatar here. Those are real flares from the sun not added or altered in post.
    Last edited by rick.lang; 03-09-2017 at 12:56 AM.
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  3. #183  
    Senior Member rick.lang's Avatar
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    Quote Originally Posted by digitalinnovations View Post
    Very glad I found this thread. I've been torn between a couple options. The Sigma Cine Zooms but they've got their trade-offs - like every lens that's not HUGE $$$. I'd prefer a FF EF mount zoom so I can speedboost (on appropriate camera bodies) but more for additional focal lengths than the speed. But FF Zooms are hard to come by and $$$ too. The new Fujinons are nice but E-Mount only makes it non starter for me. There's also the Fuji 20-120 that's just dropped in price but a little slow at T3.5. So I was also considering just going with some Milvus primes and calling it a day because I do like their image quite a bit and it's a step-up from my current lenses. But it sounds like these SLR APOs may be a solid option.
    Getting lenses designed for cine use is a different experience than the Otus or Milvus lenses that can be used for Cinema, but are clearly designed for stills work. The APO lenses are not going to be ideal still lenses for shooting landscapes and so on in extreme detail and hight constant. The APO primes are designed to flatter people, to capture some creamy smoothness while being sharp enough. Artifacts are low to non-existent. Character is built-in to the design. All lens elements are spherical like vintage lenses, yet they control chromatic aberration very well. They're under-appreciated by the world at large, but their reputation will grow as they add more lenses to the set and people spread the word. Let me know if you have any questions or things you would like to see.
    Last edited by rick.lang; 03-10-2017 at 02:23 PM.
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  4. #184  
    Thank you, Rick. Personally, I would just like see more samples of the lenses all around - people, nature, architecture, etc. As you mentioned, these lenses aren't that well known / used a lot so there's very little to go off of. Plus, as someone else mentioned earlier, since they're non-returnable that makes the "gamble" a bit tougher...at least for me.
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  5. #185  
    Senior Member rick.lang's Avatar
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    I know SLR Magic is a very busy manufacturer constantly introducing new products. Since the APO family of primes was introduced, they have come out with many other lenses, especially the Cine Anamorphot primes in 2x and 1.33x. They are targeting the traditional MFT shooters with many of their lenses since the volumes of sales there are several magnitude greater than the sale of the APO lenses. Since last September, you can have a set of the three APO (25, 50, 85mm) that have proven to be very useful in spite of the lack of a 'normal' lens fir the 4.6K sensor. I shooters both using the full sensor and windowed sensor and only produce HD deliverables at this point. So given the large number of windows available on the 4.6K sensor, I really have effectively many more focal lengths at my disposal.

    For example, let's say that about 50mm on a 135 film camera is 'normal.' That has a horizontal angle of view of 39.6 degrees. HIf I switch to the 25mm APO and shoot UHD 3840x2160, I have the horizontal AOV of a 47mm lens on the 135 film camera. That's closer to what some people argue is the real normal view for us. So if I needed to, I'd shoot UHD and downscale in post. If I want to achieve the traditional 85mm portrait lens on 135 film, again shoot UHD with the APO 50mm and you havecit exactly. And the 85mm APO is just a little longer than the 135mm lens on 135 film camera.

    The 32mm APO is due this year and that gives you a normal AOV when shooting 4K 16:9 and a wide normal on the 4.6K open gate.

    I'll try to shoot more general stuff, but I'm still investigating how the camera and the kit perform. Got to do those flare tests soon!

    John Brawley is trying to fit in some more comparison tests now he has all three APO primes. We are all looking forward to that, but obviously I bought with fingers crossed after seeing only the 50mm prototype tested by John. The production set won't disappoint you for general purposes and narrative film. Still one needs to determine if the T-stop suits your needs. But in terms of aberrations, the APO are very good value for a cine lens.
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  6. #186  
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    Quote Originally Posted by rick.lang View Post

    John Brawley is trying to fit in some more comparison tests now he has all three APO primes. We are all looking forward to that, but obviously I bought with fingers crossed after seeing only the 50mm prototype tested by John. The production set won't disappoint you for general purposes and narrative film. Still one needs to determine if the T-stop suits your needs. But in terms of aberrations, the APO are very good value for a cine lens.
    Going out this weekend to shoot with the Ura Mini Pro...Wish me luck !

    JB
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  7. #187  
    Senior Member rick.lang's Avatar
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    Absolutely, best of luck! Looking forward to anything you'd like to post, John. Saw that gorgeous 5K MoleRichardson light you have on set. Wow.
    Last edited by rick.lang; 03-11-2017 at 10:45 PM.
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  8. #188  
    Quote Originally Posted by John Brawley View Post
    Going out this weekend to shoot with the Ura Mini Pro...Wish me luck !
    That is great! I'm eager to see some more footage from these lenses.
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  9. #189  
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    Here is a photo taken with the 50mm off my rooftop: Hope to have video to share at a later date.
    Lens: 50mm T2.1 APO HyperPrime
    T-Stop - Between T5.6 & T8 ( my meter read 6.3 with a 2.5 stop shift applied for metering bright spots in the clouds)
    Focus Distance; Infinity
    ISO: 100
    Shutter: 1/100
    Camera: Canon Mark iii
    I just tweaked a few standard Camera Raw settings before down scaling & saving as TIFF. I can post the RAW file if anyone is interested.

    https://www.dropbox.com/s/3arbt9y0ij...Image.tif?dl=0

    Enjoy!
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  10. #190  
    Senior Member rick.lang's Avatar
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    Very nice.
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