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Andrew Reid

SLR Magic HyperPrime CINE 10mm T2.1 Review

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Two of the most exciting lenses for GH4 and BMPCC users at Photokina were the SLR Magic 10mm T2.1 and the Voigtlander 10mm F0.95. The SLR Magic wide angle is now available and gives you back your 24mm wide-end in 2.3x 4K mode. You could view it as an upgrade to the well regarded 12mm T1.6. Compared to the Voigtlander it has the advantage of less chromatic aberration, a stepless aperture and focus gearing designed for video use. Other than that it's hard to do a detailed comparison because the F0.95 isn't out yet!

I put the lens through its paces in Berlin and here are the results.

Read the full review

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

There is much to be excited about considering this lens and I have a lot of faith in the quality of SLR products. Informative article and wonderful video, needs Peter Buck song! (just saying) :) I also like the look of the viewfinder paired with the BMPocket, just seems like a fun way to shoot. Can I assume you are using that octopus looking thing for stabilization? 

Am I right in thinking that with the unreleased lens mentioned, it would really come down to the difference in costs and speed/light capturing abilities? What do you assume (gut feeling) on if there will be a significant difference between the two lenses? 

Lastly, what is your favorite color and what is the air speed velocity of a maiden swallow? 

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Peter Buck is always a good idea :)

The video is 90% GH4 in 4K downscaled to 1080p in post and graded with Film Convert. Yeah stabilisation is the Gorilla pod. You have to be über discrete in East Berlin otherwise people get upset ;) So no big cinema cameras for me!!!

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Can't find any specs for SLR Magic in terms of F-stop, only T (transmission number), guessing it's F2.0? In 4K and 2.3 crop, a 10mm F2.0 lens is equivalent to a 23mm F4.6 on full frame. Not too shabby, and not particularly shallow DOF. The Voigtlander 10mm F.95 is 23mm and F2.2 equivalent- much tastier for shallow DOF. I have the Voigtlander 25mm F.95 and love the look on the GH4. The fact that the lens isn't super sharp wide open really helps the GH4 look more filmic (without needing to add a filter (which will affect highlights, etc., something that blurring in post can't match. Also, noise grain on soft image looks different than blurred noise grain in post)).

The specs for the SLR Magic F.95 25mm CINE II look very similar to the Voigtlander. Is SLR Magic using the same lenses/internals as Voigtlander for that lens?

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Your post just saved me an hour of research! Voigitlander always seems to have a loyal following, I like the way user Dalflores (sp?) speaks of his exoeriences with the brand. Never thought about the possibility of both being produced with the same internals.  Regardless, I never could get an image like the one in this video with the GH4. However, I am just out having fun and clueless on some of the basics of film. However, I do understand now why Aaron uses diffusers on occasion and wish that I had experienced more with that type of look. East Germany is memorizing and hearing the people speak in background is refreshing.

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Not too shabby, and not particularly shallow DOF. The Voigtlander 10mm F.95 is 23mm and F2.2 equivalent- much tastier for shallow DOF. I have the Voigtlander 25mm F.95 and love the look on the GH4. The fact that the lens isn't super sharp wide open really helps the GH4 look more filmic (without needing to add a filter (which will affect highlights, etc., something that blurring in post can't match. Also, noise grain on soft image looks different than blurred noise grain in post)).

​My own experience lets me state that for very wide lenses sDoF is less appropriate. Because no matter the crop factor the focal plane will be rather a curve. That means that either the center is sharp or the corners (three flowers on the window sill ...). Doesn't look 'cinematic', looks wrong. More, the problem of a wide lens always is that it distorts proportions if you move too close to a foreground object (let alone face) which further contributes to shallow DoF looking wrong. Right now I'm using the Tokina 11-16 with the BMPCC speedbooster, which makes it a 19 mm equivalent. I suspect the lens isn't particularly sharp anyway, but be it as it may, it practically can't be used with open aperture. That's valid for the Pocket, an HD camera.

The softness for 4k you mentioned is probably nothing else but the lenses' resolution beneath HD, because the same softening can be seen there. That can't be the goal.

Another point is lowlight capability. Again imo it's better to use a slow wide lens on a decided lowlight cam like the A7s.

 

 

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Andy,

How do you feel SLR Magic 10mm stacks against the Sigma 18-35mm plus speed booster in terms in terms of sharpness? Do you prefer the tradeoff of the SLR Magic's wideness bu to the extra speed of the Sigma?

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After seeing this: http://3dkraft.de/index.php?option=com_content&view=article&id=137:adorable-25s-25mm-f095-speed-lens-comparison-on-lumix-gh3&catid=40:camerasandlenses&Itemid=2 I went for the SLR Magic HyperPrime CINE 25mm T0.95. It too is a bit soft wide open, but I just like the look a lot and the CINE-lens is more CINEminded. Back then I was with the 1st 100 pre-orders so I got a nice discount making it cheaper than the Voigtländer offering. I also have the Tokina 11-16mm (actually just swapped the original one for a II-version because of the AF with the D5300), which is nice, but also a little soft wide open, you can close it down a tad bit, but it being maximum f/2.8 already, it's not quite up there with the others in terms of shallow depth-of-field/low light performance, even with a focal reducer/speedbooster/lens turbo. But as already touched on before, is there really a need for the widest end to have a shallow depth of field? There's more field, so it's harder to get a shallow depth anyways, unless you're like macro close to your subject, so I feel like you might as well embrace it and create a deep depth of field, optimizing sharpness and stopping the lens down a bit. Works pretty nicely for glidecam stuff too. Although, I do have to admit, there are a few shots in that video there, where there's some pretty nice background separation going on and there's not much that touches on 10mm. Just a step up there's quite a bit of 12mm choices. Personally looking forward to the Veydra line-up. In case you've missed it: http://www.veydra.com/shop/ | https://www.kickstarter.com/projects/665053329/veydra-m4-3-cinema-lenses-for-gh4-and-bmpcc | https://matthewduclos.wordpress.com/2014/11/20/veydra-first-to-offer-m43-cinema-primes/ | http://provideocoalition.com/awilt/story/first-look-veydra-mini-primes-for-micro-four-thirds . A little quote from that last one (PVC):

If I had to describe Veydras in one pithy phrase, I’d say, “scaled-down Ultra Primes for micro four thirds cameras”. They’re sharp, rectilinear, and clean: good, workmanlike optics with no nasty surprises.

Andrew, you happen to be in contact with Veydra? Would be cool if they could send you some for testing as well.

But to steer things back on topic... at jcs: seb mentioned 'f/1.8'. Check his topics as well.

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I say just my opinion: it is not a cinematic lens, I do not see its magic, recommend to SRL magic to try making Kit for cinematic anamorphic lens

Example: 24 - 35 - 50 - 85 so let's see if it comes out the magic!!!

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Keep in mind the crop factor. These are native mount lenses, on a GH4 and BMPCC the 35mm-equivalent shoots through the roof.

Also, they have a whole line-up of these CINE primes... as well as an anamorphic 1.33x and are working on a 2x too if I recall correctly.

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I like this images!

I own the Olympus 12mm, that cost more or less the same price.

Even if someone says that new lenses are "sterile" or characterless, I love this lens. 
The only real disappointment is the focus ring when used in manual mode with distance indications: it has mini-digital-steps... it is clearly designed for foto, not for video. I hope in a firmware update, maybe they could correct it.
Anyway using it - still manual - but in normal way it is very nice and easy to match also with old lenses such as Canon FD, Zeiss etc... 

It would be cool to see a test of this SLR Magic near the Olympus 12! 

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Any thoughts on the difference between the SLR Magic 10m on a GH4 vs a Tokina 11-16 with Speedbooster?  With the Tokina, you'd get a touch more light and a wider FOV, plus the convenience of the zoom's range.  Is there a big difference in image between the two?  Trying to decide on one the other for an upcoming doc, to go along with my Pana 12-35mm and 42.5mm.  

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