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Andrew Reid

Poll: What lenses do you want from the full SLR Magic APO cinema set?

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I’m helping SLR Magic collect feedback from filmmakers about the forthcoming full set of APO cinema lenses. The $2k 50mm T2.1 is the first of the set. This will be followed by 4 more, but which ones? All will be APO formulas, full frame and equally high image quality. They will be T2.1 with the exception of the very wide 21mm lens which will be a T3.1.

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They have an APO formula for the 100mm, not the 135.

Why is 105mm a macro? Macro lenses can be any length. Canon's best macro is 100mm.

The main purpose of cinema lenses is they are matched for colour and feel from shot to shot, no inconsistencies in the edit and they all work with the follow focus & filters in same way on a set. Please vote for the entire set not your favourite single lens (i.e. 24mm or 35mm).

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Andrew, is it too late to suggest an 'option 7'?

18mm T3.1 - 25mm T2.1 - 35mm T2.1 - 50mm T2.1 - 85mm T2.1

This is just personal preference, but from my experience when folks want to shoot longer than 85 they use a zoom like a 70-200. I think SLR Magic should focus more on wide angle options because there are plenty of crop cameras being used for cinematography.

 

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24/T2.1 - 35/T2.1 - 50/T2.1 - 75/T2.1 - 100/T2.1 19.26%  (26 votes)

 
 
 
when finalising the set SLR Magic need to be 100% dedicated to the full frame sensor when factoring in focal lengths otherwise the strength of the system is compromised.
 
my reasons for choosing the above are because of the fact that when used on full frame or speed boosted s35 sensors the fl's will be equivalent to 16mm, 24mm, 35, 50 and 65mm in s35mm terms.  Personally I think they need to factor this in and as suggested a 135mm or a 150mm should be offered rather than the 100mm.  the 100mm becomes a 65mm which is too short for the longest option on full frame.  a 135mm on full frame is where the magic starts IMO
 
 
my personal preference would be 24mm, 35mm, 50mm, 85mm and 135mm.  this set would translate into fov's similar to a 16mm, 24mm, 35mm, 55mm, 90mm on s35mm.
 

Andrew, is it too late to suggest an 'option 7'?

18mm T3.1 - 25mm T2.1 - 35mm T2.1 - 50mm T2.1 - 85mm T2.1

This is just personal preference, but from my experience when folks want to shoot longer than 85 they use a zoom like a 70-200. I think SLR Magic should focus more on wide angle options because there are plenty of crop cameras being used for cinematography.

 

This is a classic example of a suggestion that should be ignored in the context of a set of full frame lenses - a set optimised for a s35mm sensor, and m4/3 baby sensor safe.    With the advent of the speed booster ultra, no one needs to be spending big money developing full frame lenses wider than 24mm when the end result will cost more and be way slower than a 24mm and a speed booster ultra.  In the past SLR magic seem to have been pandering to the small sensor crew.  If they're gonna offer high end APO corrected lenses for the big frame they need to concentrate on focal lengths for the big frame or for speed booster use.  

 

their current 50mm t2.1 becomes a formidable 35mm t1.5 for s35mm when used with the SB Ultra and a FS7. 

 
 

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An economy cinema lens set would be great for all the amateurs out thee.

Something between 300 and 600eur per lens  but with matching filter thread, matching gears, clickless aperture and resolution usable for FullHD. (No need for 6K)

With a separate case, so you can buy them one at a time to complete your set ove the years.

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I see there are the most votes for a full frame friendly set starting with 24mm at the widest.

So, I assume (wich is pretty logical) that of course the very big full frame crowd (A7s, 5d3, D810 maybe speedbooster users) did their fair share of voting.

Thing is, tis set will cost slightly above 10k$ when released. I don't see any A7s user shelling out that amount of cash, when there is the samyang/rokinon

cinema lenses option around.

The uniqueness of the SLR Magic set is the PL mount. The cheapest new 6 Lens set that has PL mount starts at 20k + tax.

So I see the real customers in those that are used to prices like 20k+ that are now very happy that they don't need to spend as much.

Of course, not only those will buy, but I would say they should be served first.

My preference would be (18), 21, 25, 35, 50, 85. Later I would add a 135mm

 

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I love the look of the 50mm so far - even more than the Cooke. But it's disappointing that there won't be an 18mm or 21mm to give the set a wide angle on Super35 cameras. Seems like cinema lenses like these would be best used on S35 cameras and not DSLR's. 

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What's the reason for preferring a 25 vs a 24?  

FWIW, 24mm was the more common length in stills glass years ago (see Canon FD), and, I suppose, hits closer to FF 35 equivalent on a APS-C sensor than 25mm.  That said, cinema glass typically includes the 25mm, rather than the 24mm (see, Xenon FFs, Zeiss Master Primes, Cooke, etc).  For that matter, the 85mm is more typical in stills glass, whereas the 75mm is the more common focal length for cinema glass.

Matching up to the Xenons (or Zeiss Master Primes), for example, we'd ideally want, in a six lens set: 21, 25, 35, 50, 75, 100 -- with a 135 next in line (and possibly more desirable than a 21mm for FF users).

Thing is, tis set will cost slightly above 10k$ when released. I don't see any A7s user shelling out that amount of cash, when there is the samyang/rokinon​

As an A7S/FS700/BM user, I can absolutely say I'd love to use the A7S with a set of well built, dedicated cinema glass (and intend to pick up a set of the Xenons - though if the SLR Magic timetable were sooner, would be very interested in those).  Though the Rokinon DS's are a great value, they don't have nearly the build quality of more expensive glass.  Camera bodies come and go -- lenses can last a lifetime, so paring up a long term solid, durable set of cinema lenses while swapping your camera body every few years is a sound strategy.  Remember also, sensor sizes are getting larger (see Dragon 6K), so FF coverage may be very important in future proofing a set of lenses.

 

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​I thought this was a poll where everyone is allowed to express their own opinion. Just because I think differently than you, doesn't mean I'm automatically wrong.

it is a poll where people are allowed to express their opinion.  I didn't say your opinion is wrong, just one that contradicts my own logical theories behind how a 'FULL FRAME' system of lenses should be built.   A slow 18mm lens to cater for those who can opt for smaller format faster lenses to fulfil wide angle seems like a complete waste of time IMO

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I don't get the obsession with 85mm lenses for cinema use. It's a little on the long side for a proper MCU, but not quite long enough for ECU/shallow focus/compressed perspective/detail shots like a 100mm. If you've never used a 75mm, borrow someone's APS-C camera and try a 50mm. My friend lent me his Sony 50mm f/1.8 OSS and A6000 for a 48 hour film project once, and I almost never felt the need to switch to my Minoltas--in fact, we shot the entire feature with nothing but that lens.

When voting on these focal lengths, think outside the box that photographic lenses may have trained you into. You may be surprised.

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Guest Ebrahim Saadawi

21mm, 35mm, 50mm, 85mm, 100mm 

Everybody loves 35,50,85mm on both s35 and FF, and 21 is decently wide for both too, 100 is 150 on s35 and 100 on ff. I think this is a complete set and one that's very standard and easy to design... 

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This lens set is very interesting to me, but please Andrew, ask them to reconsider another wide in there like a couple others have suggested. I realize they are not selling to high end DP's but when you look at the upper level DP's there list's stay on the low end. Get a 32 and a 40 in there, or I guess the super 35 equivalent. I think a long lens is great to have but you only need one. 21, 25, 32, 50, and 100. 

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