SLR Magic APO and Anamorphic Cinema Lenses

I personally love watching behind the scenes footage from big features where lens data is shown on screen. I probably paused the bluray of shape of water dozens of times to see what lens mm, stop and color temp they were shooting at. (Exposure was consistent even in different scenes)

While it would be fabulous to have this data, I can't imagine SLR magic ever developing it. It doesn't seem their target market. The shows that opt for High end glass aren't interested in saving money on lens rentals and I would imagine SLR magic owners (myself included) are more interested in owning a variety of good affordable lenses, than more expensive ones with lens data.

I think you’re right. I feel they are the best combination of cost, size, balanced weight, ease of operation, and character with an ecosystem around them that includes various kinds of filters and anamorphics. Where they don’t do a lens accessory product, they officially interface with someone who does such as PD Movie for their (synchronous) follow focus.


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Here is a performance I shot on 2 EVA1’s with the SLR Magic 85mm on the static and the Tokina 11-20mm (photo version) for the handheld.

Hi Rick,

I was reading all the posts according the APO and SLR Magic Anamorphic Adapter, but I did no find the information how you attached the Anamorphic Adapter to the APO's? Looking to the specs of the lenses they have a front diameter of 95mm and the Adapter supports only Front Diameter Lenses up to 65mm. Did you use a step up ring? Sorry if I missed this information.

Regards from Zurich Switzerland
Marek

Hi, Marek. Sorry, it’s easy to be confused when you don’t have the products in your hands. Firstly you are concerned about the outside diameter of the lens housing. That’s not really relevant.

Let’s consider the physical specs of the 1.33x-65mm Anamorphot adapter.
This adapter is optically designed for taking lenses with 30mm and longer focal lengths. For example the SLR Magic 85, 50, and 32mm APO. It won’t work well on the 25mm APO but I think one day I’ll try it anyway, just not yet.

The 65mm refers to the maximum diameter of the entrance pupil (the visible diameter or the front element) of the lens. If you have larger front elements, the Anamorphot won’t work properly. Smaller front elements will work.
The adapter has a 82mm thread designed to screw-on a lens (or step-up ring) with an 82mm front thread. All new APO lenses have 82mm front threads. I use a 62-82mm Heliopan brass step-up ring on my original generation 50mm APO prime.

This adapter is quite large with an outside diameter compatible with 114mm matte boxes. It’s also heavy so I strongly recommend the beautiful SLR Magic Lens Support for this lens as it integrates very securely with the adapter. The adapter ensures your squeeze is perfectly vertical.

It’s a lovely setup for the URSA Mini 4.6K PL to transform 16:9 into widescreen layouts that unfortunately I cannot use with the even larger short focal length Tokina Cinema ATX 11-20mm T2.9 PL zoom. But it’s a perfect squeeze adapter for the BMPCC4K with the Fujinon MK mFT zooms that I hope to acquire as budget allows, first the 18-55mm please (squeezed in the 30-55mm and 50-135mm ranges).


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Dear Rick,

I really appreciate your professional answer with all details in it! I was a little bit lost trying to acquire all informations about the lenses and all necessary accessories I will need to set up my new BMPCC 4K.

I am planning to use a Metabones T Speed Booster Ultra 0.71x Adapter for Canon Full-Frame EF-Mount Lens to Micro Four Thirds-Mount Camera, the APO 50mm with the PL to EF Adapter and the SLR Magic Anamorphot-65 1.33x Anamorphic Adapter.

You have mentioned that there are new APO Primes with a 82mm Filter Tread? Are they out yet? I didn't found them on the resellers sites.

Thanks again for your post. It helped me a lot yet!
Regards
Marek

The only ‘new’ version of the 50mm APO has been available quite awhile. The change is the use of 82mm threads rather than the original version I have from 2016 which has 62mm threads.

The latest and greatest prime is the 32mm APO which is my go-to lens for most of my client work since I got it.

I haven’t purchased any Metabones products so far. I will use the SLR Magic PL-mFT Adapter for the APO primes on the BMPCC4K and the Wooden Camera PL-mFT Adapter for the Tokina Cinema ATX 11-20 zoom. Both adapters have shims to adjust flange focus distance should they require a different adjustment on the BMPCC4K.

I can’t comment on the efficacy of using a focal reducer with the combination of the APO and an Anamorphot. I haven’t tried it and the physics might be a challenge to get focus across the film plane. A non-optical Adapter should be fine.


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Yes, that 32m. APO is on my “want list” for my next lens investment in a PL mount.
Cheers

After describing how the PD Movie manages synchronous focus of the SLR Magic APO primes with the SLR Magic 1.33x-65 Anamorphot adapter, I thought I should update you on a change in the procedure that is simpler to limit a focus range.

Set the focus point of the lens between the closest and furthermost desired focus range.

Then the only complication: you must reset the follow focus thumb controller by cutting its power each time you want to change focus settings.

After restoring power, rotate the focus gear of the Anamorphot adapter to the furthest point you wish, such as twenty feet.

Then rotate the Anamorphot adapter to the nearest point of focus desired such as five feet.

Then hand turn the focus slight nudging it back towards twenty feet; as you nudge the lens gear the adapter focus motor will engage.

Rotate focus of the taking lens (such as the 32mm APO prime) to the identical furthest point, twenty feet.

Then rotate to the same near point, five feet.

Again nudge the taking lens gear until the motor engages.

That’s it. You can use the thumb controller to focus both simultaneously. No button presses to remember.

.


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.. Let’s consider the physical specs of the 1.33x-65mm Anamorphot adapter...
It’s a lovely setup for the URSA Mini 4.6K PL to transform 16:9 into widescreen layouts that unfortunately I cannot use with the even larger short focal length Tokina Cinema ATX 11-20mm T2.9 PL zoom. But it’s a perfect squeeze adapter for the BMPCC4K with the Fujinon MK mFT zooms that I hope to acquire as budget allows, first the 18-55mm please (squeezed in the 30-55mm and 50-135mm ranges).

My Tokina CinemaATX 11-20mm T2.9 will be heading back to Los Angeles for maintenance at Duclos Lenses in Canoga Park. It’s witness marks used to be quite good, but when I went to use the lens this month, it no longer focuses properly. To get to a real infinite focus, I need to crank the gear way beyond the infinity focus mark!

Never had a good lens go bad before. Thankfully although the manufacturer’s warranty had technically just expired, Duclos Lenses provides two year warranty support on everything they sell so I’m covered.

This lens is indispensable for my movie projects anticipated to shoot in 2020.

Sorry to hear you had an issue with the lens. They are not a rugged mechanically as a Cine lens, bit Matt should get itmsort d for you. I have the Duclos hand built version of the 11-16, so it seems more robust, and has not given me any issues so far.
Cheers