Thread: SLR Magic MicroPrime Cine Lenses

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  1. #31  
    Senior Member Asyndeton's Avatar
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    This is the response I got from SLr Magic:

    To better assist you, please send us a copy of the purchase invoice for the two lenses.

    To check the situation, we need you to send both lenses to our lens tech to check.

    Alternatively you can send back the lens to the shop within the exchange period to change another copy.
    I’m going to send back the 18mm to B&H when I’m able for a new copy and see if it has the same result. If it does then I’ll send them over to their lens tech to see what’s up.
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  2. #32  
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    Rick has an issue with one of his SLR APO lens, and SLR Magic took care of it very quickly.
    Cheers
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  3. #33  
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    Just a quick update. I got a new copy of the 18mm with the same results, so I returned the 12mm for a new copy and finally got it yesterday after shipping delays. They both perform exactly as the first copies I got. The 12mm exposes 2/3rds of a stop more than the 18mm at all apertures.

    I’m contacting SLR Magic again to see what they say now that I’ve swapped both lenses as they said to do. All I really want is a confirmation from them that this is normal behavior from these lenses.
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  4. #34  
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    Darren, sounds like SLR is using a mathematically derived f/, labeled as a T-Stop, rather than a true measured T-stop, which would increase the cost, as each lens would need to be measured and a custom engraved T-stop ring made. This is the difference between true Cine lenses and lower cost semi-cine lenses, like the Micro Prime and the Veydra Mini Primes.

    As ,one as you know the difference, and can compensate it, you are good to go.
    Cheers
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  5. #35  
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    Quote Originally Posted by Denny Smith View Post
    Darren, sounds like SLR is using a mathematically derived f/, labeled as a T-Stop, rather than a true measured T-stop, which would increase the cost, as each lens would need to be measured and a custom engraved T-stop ring made. This is the difference between true Cine lenses and lower cost semi-cine lenses, like the Micro Prime and the Veydra Mini Primes.

    As ,one as you know the difference, and can compensate it, you are good to go.
    Cheers
    That is my hunch as well that the lenses are mislabeled as t-stops and are actually f-stops, which I think is a bit dishonest and unfair of them to do. It is normal for lenses that are calculated in f-stops to be up to 2/3rds of a stop in difference. I just kind of want them to admit that that it is normal behavior for the lens, though it won’t make much difference other than my peace of mind. Either way, I like the lenses quite a bit and will be going for the 25mm whenever it goes for sale. Can’t expect perfection at these prices for cine lenses.
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  6. #36  
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    When changing focal lengths between lenses, especially in the W.A. focal lengths like this. I had almost a 1-stop,difference between a S16 Cine 9.5 lens from one manufacturer from a 16mm S16 lens from a different manufacturer. This is why wide range zooms, like the Pany-Leica 12-60 goes from f/2.8 at 12mm to f/4.5 at 60mm, because the focal length is part of the formula used for determining the f/stop. More expensive fixed f/stop zooms, are more expensive as they have larger lens elements to give them the fixed larger f/stop at longer focal lengths, and actually change the iris opening size (the other part of the formula) to maintain the constant f/stop.

    On inexpensive lenses like the Micro Primes, the difference is more down to actual light transmission differences, which is variable that is not part of the f/stop formula. So the only way to have accurate T/Stops is to actually measure the light being transmitted by each lens, and calibrate them accordingly. This is not going to be possible on a sub-$1K lens. This was part of the cost of the Duclos modded Tokina 11-16, the lenses were cherry picked and each one was actually measure for light transmission to get them to have a consistent exposure.
    Cheers
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  7. #37  
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    I walked around with the 12mm while doing some errands the other day: https://www.youtube.com/watch?v=SJ4w...ature=youtu.be

    The stories about the lens are true, it is softer than the 18mm especially at 2.8. It starts to feel like more usable/pleasant softness at about T4 kind of like T2.8 on the 18mm and gets noticeably sharper from there. I think everything in the vid is between T8 to T16 for the most part. Mostly around 100 to 200 ISO and 48FPS, some at 60FPS. I forgot to grab my circular polarizer before I headed out. And again, this video is nothing special, but just got a better feel for the lens though it's difficult without a brighter external monitor in direct daylight making it hard to see the frame and keeping the monitor brightness down to save battery life. Next time I use it I want to get some more human subjects in frame. But the 25mm is now available for MFT and I'm going to order it in the next couple of weeks so excited for that.
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  8. #38  
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    Another quick video but this time with a mix of the 12mm and the 18mm and cropped in to 2.39:1 (excited for the new shooting formats coming out): https://www.youtube.com/watch?v=rd6LHI6yYAE&t

    The more I use the lenses the more I like them. I also remembered my circular polarizer this time. I'll be ordering the 25mm next week when I get back home from a vacation. And next time I play around with the lenses I'll be sure to actually use the Crane, but hopefully will be able to shoot an actual project with them sometime soon.
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  9. #39  
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    Darren, how is the physical mount of the Microprimes on the Picket 4K Camera, fairly tight, loose, ?
    Cheers
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  10. #40  
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    Quote Originally Posted by Denny Smith View Post
    Darren, how is the physical mount of the Microprimes on the Picket 4K Camera, fairly tight, loose, ?
    Cheers
    The 18mm is very tight, the 12mm isn’t as tight but I don’t feel any play in the mount when pulling focus.
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