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

Wondering if anyone has bought a SLR Magic APO Hyperprime lens recently? I purchased the original 50mm several years ago in PL mount, it shipped with a 62mm front filter thread. I then bought the 25mm and like the 85 and 32 has an 82mm front filter thread. Both lenses have a very tight focus ring, hard to turn with your fingers.

I bought another 50mm PL with EF adapter new last week and it shipped with an 82mm front filter thread and the focus ring is much looser, very easy to turn. Does anyone know if this is a purposeful lens update, the looser focus ring? Or could this be a quality control difference and lead to needing service?

Wondering if anyone has bought a SLR Magic APO Hyperprime lens recently? I purchased the original 50mm several years ago in PL mount, it shipped with a 62mm front filter thread. I then bought the 25mm and like the 85 and 32 has an 82mm front filter thread. Both lenses have a very tight focus ring, hard to turn with your fingers.

I bought another 50mm PL with EF adapter new last week and it shipped with an 82mm front filter thread and the focus ring is much looser, very easy to turn. Does anyone know if this is a purposeful lens update, the looser focus ring? Or could this be a quality control difference and lead to needing service?

Ryan I would go back to SLR magic and ask them.

From memory, it's not a substantial difference, just a choice in the type of lubricant on the focus action inside.

I think Andrew initially assumed most people would prefer stiffer.

JB

Thanks, I've emailed him.

Ryan, i have that first generation 50mm APO with the 62mm filter thread plus a brass step-up 62-82 ring. Your version is generation 2 and the changes are intentional. Doesn’t hurt to email support if you feel the lens gear is too loose. I like it firm.

Ryan, i have that first generation 50mm APO with the 62mm filter thread plus a brass step-up 62-82 ring. Your version is generation 2 and the changes are intentional. Doesn’t hurt to email support if you feel the lens gear is too loose. I like it firm.

Thanks Rick, I did email Hot Rod, I would like to order the 32mm but was putting it off until one might pop up in stock. They seemed to confirm my description that it is now only a hair tighter than a Xeen, looser than the CP2, before much stiffer than both.

The anamorphic look is more than the oval aperture, it's also the overall look of the lens. Modern anamorphic lenses look like modern lenses, which lack character. So I personally opted for vintage lenses that were cleaned, modded with cine gears and with an anamorphic aperture, and changed to a permanent EF mount and a popular filter thread size. I paid just $2k for 5 lenses, which is a steal. Focal ranges 28, 35, 50, 85, 135mm, plus another one at 20mm (unmodded that one). I'll be using these mostly with a full frame camera.

The 32mm is their best lens. I use it more than all others combined. My other lenses needed some adjustments but the 32mm has been fine, knock on glass.

... I personally opted for vintage lenses that were cleaned, modded with cine gears and with anamorphic aperture. I paid just $2k for 5 lenses, which is a steal.

“Theif, stop, thief!!!”

Cinematographers come with a wide range of styles and artistic sensibilities. Something like the situation shooting anamorphics. Or even primes. I was reading about the appeal of cinematic lenses that are intentionally designed to be sharp in the central portion and fall off to some blur as you move to the edges. I can see why that subconsciously draws attention to your subject but what if you want the subject over to the side. An acquired taste. And then there’s the spiral bokeh that’s a feature of some obscure lenses called Cooke I think it was. This is a good thing?

Struggling to get back on topic but what I’m trying to say is I prefer the conservative anamorphic designs which several modern anamorphics embrace. The blue streaks and emphatically warped extremes of the frame can work in some situations very well, but for general purposes I’d stay with conservative lenses that have more subtle character.

“Variety is the spice of life.”

I personally prefer the old Cooke lenses, which are indeed very blurry all around, and sharp in the middle. And indeed, anamorphics do push the DoPs to put talent in the middle most of the time. But most of all, I like the stretchiness that comes with old anamorphic lenses. In newer lenses, having perfected the glass manufacturing process, the background is (unfortunately for me) smoother. Having said that, I dislike anamorphic flares and streaks. These are a nuisance, and unwanted. I ordered my fake anamorphics without the streak option (I don't have them yet, still in production). I shot this the other day with a Helios 44-2 and a Vid-Atlantic anamorphic filter, and then used Fusion to intensify the swirliness (normally it's not that much):

Nice test, Eugenia.

I personally prefer the old Cooke lenses, which are indeed very blurry all around, and sharp in the middle. And indeed, anamorphics do push the DoPs to put talent in the middle most of the time. But most of all, I like the stretchiness that comes with old anamorphic lenses. In newer lenses, having perfected the glass manufacturing process, the background is (unfortunately for me) smoother. Having said that, I dislike anamorphic flares and streaks. These are a nuisance, and unwanted. I ordered my fake anamorphics without the streak option (I don't have them yet, still in production). I shot this the other day with a Helios 44-2 and a Vid-Atlantic anamorphic filter, and then used Fusion to intensify the swirliness (normally it's not that much):

With the m50 your set seems to be a good match being small and lightweight with lots of character. Did you buy the Iron Glass versions? I've been interested to see reviews from the VLFV Cine edition with their custom housing.

I did buy the IronGlass indeed. But I didn't buy their rehoused versions (which are much more expensive and they don't have common filter threads -- since I rarely use a matte box), I bought their modded versions. I have a plan to put a review up somewhere when they arrive.

Incidentally, today my other order arrived, a modded Helios 44-2 (anamorphic, cine edition). This was from another Ukraine seller (IronGlass are also from Ukraine) that specializes mostly on the 44-2. No need anymore for the Vid-Atlantic anamorphic filter that I used so far. I find the results very convincing (particularly if I also slightly stretch vertically the image), and so I personally don't see much of the point of trying to get true anamorphic lenses. I enjoy the soft, filmic image of these old lenses much more than super-sharp modern lenses. These come with a declicked aperture, and gears. All that, for just $130.

Of course, this method has its downsides, since you must shoot wide open to get the anamorphic bokeh, while almost all vintage lenses flare badly when doing so. This one thankfully cuts down its flare to half if using a glass filter in front of its hood (any filter would do, I used a variable ND):

Eugenia, what is the anamorphic squeeze factor with the lens used for the above video?

The Helios 44-2 is a vintage spherical lens, but this one was modded to have an oval aperture. So, it's 1:1. Sorry, I thought it was clear that this was a modded lens, since the Helios is very popular these days online.

Oh, I understand “modded” now! You did mention that indeed.

Still not thinking clearly with my puppy very sick and I’m hardly sleeping.

The 32mm is their best lens. I use it more than all others combined. My other lenses needed some adjustments but the 32mm has been fine, knock on glass.

Rick, What is the distortion like on the 32mm? I haven't been able to find out much about it. I'd expect it to have some barrel distortion?

Still not thinking clearly with my puppy very sick and I’m hardly sleeping.

Oh no! I hope he gets much better soon! Much love!

Rick, What is the distortion like on the 32mm? I haven't been able to find out much about it. I'd expect it to have some barrel distortion?

You can expect it to be quite significant. But does it actually matter? The whole point of anamorphic is to have a character. Look at the recent James Bond trailer and pause at the various wide shots. The distortion is massive. But they can still tell a story. Look at 00:29 for example. Not only there is distortion, there's also extreme softness at the edges (look at the left side, they've cropped the right side in post). And not only that, but if you see the romantic scenes, they shot them spherically, while the rest of the movie is anamorphic!

You can expect it to be quite significant. But does it actually matter?

I'm asking about the SLR Magic 32mm APO, which is spherical, so I wouldn't think it would have a lot of distortion, maybe a little barrel like a Zeiss 35mm CP2? I'm thinking in more general terms about how to deploy it, rather than knock it for having distortion, between a 35mm and 28mm or if I am using only the SLR Magic APOs on a project then it would have to replace both the 35mm, 28mm CP.2

The 32mm is their best lens. I use it more than all others combined. My other lenses needed some adjustments but the 32mm has been fine, knock on glass.

Rick, What is the distortion like on the 32mm? I haven't been able to find out much about it. I'd expect it to have some barrel distortion?

Ryan, i actually have never shot with a formal lens test sheet so I can’t quote distortion at various distances. I’ve never found it to be an issue but I’ve never shot down a university quad with pillars on both sides to illustrate how good or bad it is. It’s a true spherical lenses as are all the APO lenses; there is no high dispersion or aspherical elements used to control the character, everything is corrected as best they can with spherical glass like a true vintage lens.

It’s truly a pleasure with the only caveat that comes to mind is that out of focus things like vertical railings out of focus in the foreground do look strange (not like the gentle soft focus when the railing is out of focus in the background. So you need to be aware of that.

I shoot spherical and anamorphic with the 32mm and higher focal lengths but again my 32mm is the favourite for that too.

Eugenia does have a good point. I’m occasionally noticing how ‘bad’ some shots can be for features in distribution whether it be a consequence of the camera or the lens or the grading. But I can’t deny it’s the story we’re watching.

And when I don’t like something I also find I just need time to adjust to the choices made for the film. This isn’t true, but to illustrate, pretend you don’t like a film noir (too much contrast, too many weird angles) but part way through you’re swept away and into the mystery.

I’ll make a mental note, to illustrate the distortion on the APO lenses with and without anamorphics when I get back to University College at UofT!

Interesting about the out of focus foreground in the 32mm, I'm not seeing anything distracting in the 50mm. I did get a hold of a set of the original Zeiss Compact Primes in PL recently; 28, 35, 50, 85 and have been looking at them compared to the SLR Magic, but I don't have a complete of APOs.

There is a lot of info out there about the Zeiss and they follow the traditional rule of barrel distortion up to 50mm then zero distortion or minimal pincushion 85mm on.

The 50mm SLR Magic APO seems to have a slight pincushion distortion when I'm putting it on a face or no distortion, but I could be wrong?. It tightens or tamps down the nose a bit in a closeup where the Zeiss expands it.

If you have the second generation of the 50mm APO, 82mm filter, they may have corrected the strange out-of-focus look fire foreground items like vertical rails. My 50mm 62mm filter displays that odd effect.

Didn't want to create a new thread --

Does anyone hear have any experience with the newer SLR Magic Microprime APO's lenses? They're supposed to have the same image qualities as the Hyperprime APO's, just a change in housing and mechanics.

I've seen so few examples of these lenses in action that I wanted to see what everyone thought of them, and if anyone has had a chance to compare them to their big brother, Hyperprime APO's.

I'm especially looking at the 25mm t2.1 and the 50mm, although I've heard that the 32mm may be the best, at least in terms of the Hyperprimes.

I'm partial to the 50mm APO PL. I recently updated my copy to the newest version. I like mounting just the EVF and battery on the URSA Mini and rest the bottom of the camera on my shoulder to get the whole thing lighter but still comfortable. It's my preferred way to get informal portraits to the point where the look is so nice I wouldn't want to put family on another lens. l own a Zeiss set but for the 21mm and 28mm where those focal lengths have a unique look.

The 25mm SLR Magic is a great wide and shares the same smooth sharp look as the 50mm. I don't think of them as overly soft.

I would be interested to know too how the micro versions handle. I would trust that the optics are the same.

Didn't want to create a new thread --

Does anyone hear have any experience with the newer SLR Magic Microprime APO's lenses? They're supposed to have the same image qualities as the Hyperprime APO's, just a change in housing and mechanics.

I've seen so few examples of these lenses in action that I wanted to see what everyone thought of them, and if anyone has had a chance to compare them to their big brother, Hyperprime APO's.

I'm especially looking at the 25mm t2.1 and the 50mm, although I've heard that the 32mm may be the best, at least in terms of the Hyperprimes.

The Microp iMessage are new lenses, and I do not believe they are APO, the SLR Magic APOs are a different line all together, from the Hyperpimes and Microprimes

I'm partial to the 50mm APO PL. I recently updated my copy to the newest version. I like mounting just the EVF and battery on the URSA Mini and rest the bottom of the camera on my shoulder to get the whole thing lighter but still comfortable. It's my preferred way to get informal portraits to the point where the look is so nice I wouldn't want to put family on another lens. l own a Zeiss set but for the 21mm and 28mm where those focal lengths have a unique look.

The 25mm SLR Magic is a great wide and shares the same smooth sharp look as the 50mm. I don't think of them as overly soft.

I would be interested to know too how the micro versions handle. I would trust that the optics are the same.

Thanks...

Which Zeiss lenses do you own -- CP.3, zf/ze, etc. I have the 35mm f1.4 Milvus, and although the SLR magic 25mm may not match I think I may still get it. How similar or different are the looks between the two.

Didn't want to create a new thread --

Does anyone hear have any experience with the newer SLR Magic Microprime APO's lenses? They're supposed to have the same image qualities as the Hyperprime APO's, just a change in housing and mechanics.

I've seen so few examples of these lenses in action that I wanted to see what everyone thought of them, and if anyone has had a chance to compare them to their big brother, Hyperprime APO's.

I'm especially looking at the 25mm t2.1 and the 50mm, although I've heard that the 32mm may be the best, at least in terms of the Hyperprimes.

The Microp iMessage are new lenses, and I do not believe they are APO, the SLR Magic APOs are a different line all together, from the Hyperpimes and Microprimes

Hi, the new SLR Magic Microprime APO's in EF mount came out fall of last year. They're APO's I believe.

Not sure about the rules to linking but here they are --

https://www.bhphotovideo.com/c/product/ ... RgQAvD_BwE

SLR Magic is confusing with their branding though. I know they have microprimes of differing varieties.

Hi, the new SLR Magic Microprime APO's in EF mount came out fall of last year. They're APO's I believe.

I have the Zeiss CP2. 21,28,35,50,85 all bought well used in PL for close to the price of the new EF SLR Magic you linked to.

The lenses you linked to should share the exact same optical quality formula as the PL APO versions from what I've seen in video interviews with the designer. Andrew, the designer, also personally answers emails!

John Brawley's Vimeo test is great. I own both the SLR Magic 50mm and Zeiss CP2 and before putting them side by side for myself I couldn't exactly see how unique they were. Enough so that for an independent project I would choose one or the other.

Before SLR Magic released the 32mm, and now I haven't exactly budgeted for it yet, I had used a XEEN 35mm. The Zeiss CP2 set although sharp and detailed still feels classic to me and you will get pink and blue flares. The SLR Magic 25mm and 50mm have a definitive green flare and the look is smooth and modern.

I recommend buying the 32mm if you only have a 35mm Milvus in the Zeiss series and test to see if you want to own one or the other or both. I like owning both, but again have yet to budget for more SLR Magic APOs.

Here’s a demonstration of setting up the SLR Magic 1.33x-65 Anamorphot and using the PD Movie to focus both lenses synchronously:

Here’s a demonstration of setting up the SLR Magic 1.33x-65 Anamorphot and using the PD Movie to focus both lenses synchronously:

This is a nice video Rick.. looking forward to any images made by the setup that you might post. I noticed you have a filter on the 32mm APO before attaching the Anamorphot. I also use front filters on the APO lenses, more for nd and ir cut. I don't have "protection" filters on them.

Would there be an alignment issue with the Anamorphot optics? Any issues there? I would be worried about distorting the filter ring on the taking lens, but since you are showing it with filters I'm assuming it's fine.

I am ordering an 1.33x-65 Anamorphot with the recent price drop on B&H.

That’s good to hear, Ryan. The 1.33x squeeze applied to capturing in UHD gives a nice 2.39:1 widescreen with a tiny crop in post. I think the folks that shoot with 2x squeeze and a 4:3 capture throw away a lot of pixels unless they need that to adjust framing.

I use a lens support and a matte box to keep everything aligned and I don’t have any concerns about possible problems with a filter between the taking lens and the adapter. It might be something to judge if you’re not shooting with rails, but I think there’s enough metal on metal to hold things firmly.

If have a set of 10 NiSi 82mm screw-on and 3 86mm screw-ons plus the SLR Magic Vari-ND II, but fo not have any 112mm filters for the Anamorphot do I rely on the matte box and Schneider 715 IR Cut if needed to protect the Anamorphot front element.

I shoot almost everything with that combination now.

I have the full BTS for the music video done but I haven’t loaded it to Vimeo yet as awaiting final approvals.

I have several private client videos on Vimeo that I should see if I’m allowed to make public. At least linking to some promotional shorts might be tolerated here, but I doubt anyone wants to see full-length videos here. Some like Mamma Mia! will not be able to be shown publicly in my lifetime due to licensing restrictions which is a shame.

I use a lens support and a matte box to keep everything aligned and I don’t have any concerns about possible problems with a filter between the taking lens and the adapter.

Thanks again for the info, I have a 32mm & 85mm APO PL APO on their way separately along with the Anamorphot. I have a 114mm matte box with support that will probably do well. How do you feel the Schneider 715 looks with skin? I was using Hoya IR cut screw in filters but thought they made skin too slick. Lately I've been using 4x4 Firecrest .3 they have a slight green tint consistent with the SLR Magic 50mm.

Looking forward to full sensor anamorphic too. Any promotional shorts you post would be appreciated.

Ryan, I like the Schneider 715 MRC especially when shooting people. Many IR Cut filters cut around 680 nm and that’s in the visible red spectrum according to every source I have seen. Schneider is a firm believer in capturing all the dark red or near infrared you can to more accurately portray skin tones. They also make a 750 nm filter but I thought that might be going too far. I didn’t want to buy both but perhaps someone has on YouTube.

I don’t usually use that filter alone but in combination with an SLR Magic IRND that attenuates infrared out to 1200 nm or an SLR Magic Image Enhancer Pro II that help shape light as well.

I have a video on Vimeo that may compare the 715 to the stronger B+W that has been replaced by a Schneider with a better product. The B+W does cut about 680 nm and when there’s a lot of heat and a lot of synthetics or greenery in the frame, it does appear to correct infrared pollution better. But for narrative and controlled wardrobe and set, the 715 may be preferable.

So many films seen to want to present skin in yellow or any other colour like orange, grey or purple or green or blue—anything that the dramatic action calls for but nothing that looks real. So in those situations it may not matter what is used. Certainly an IRND may suffice. But for beauty shots it does matter for some subjects. And this isn’t a ‘Caucasian’ thing because from what I’ve seen all races benefit from a presentation having slightly more sensitivity to deep red.

I always enjoy John Brawley’s camera tests vas be includes a variety of skin types. And it may be that sometimes he doesn’t use more than an IRND. The built-in filters in the UMPro are IRND.

I have had a tough time trying to find out info about the APO micro primes. Andrew the owner said they too sane optical design and put it in smaller body...

Also John Brawley says they are the same glass.. but ppl are saying they are NOT IDENTICAL.

Jm said in review they dont flare and bloom like they hyperprimes. So they dropped price $300 and I bit bullet and just bought entire set from bh. Unfortunately I don't have a 4k camera atm to test. Waiting on 2x A7siiii. And just sold my bbackups. Lol.

So i think I got an IR A7R around here. I coukd pop a uv ir and get some stills or shoot 1080p I think at 24p.

But everyone says its NOT THE SAME LOOK... now out if the lenses the 32mm is the biggest and heaviest. Glass elements are huge on the 32mm compared to rest of set. Also looking at coatings. The 32mm looked darker and reddish purple w coatings. Where others looked clear and similar.

I want that hyperprime look and flaring so I feel I was sold a bill of false goods. Also on Slr nagic website they say optical formulas and groups and elements are all the same but its Not A Match and info appears to be wrong.

On microprimes apo the max Tstop is T16.. to T2.1..

On website it says t22...

So if that info is incorrect whos to know what else is incorrect. Also where are pics of the optical design. Impossible for me to find. Thrn you hear that the old 62mm is now 82mm on the hyperprimes apo.

And then Slr magic names are absolute mess. They got do much confusion i font think they can keep their own website accurate.

Ef mount apo microprimes are not T22.. they are t16.

I tried messaging SLR several times with no response. Also the microprimes apo ef have a lense that moves when focusing. Looks like there's an outer case built around it to house the movement. Idk if its same on hyperprime apo. May be fully disclosed. Also what is this Apo design. Where are glass elements at how many wgat types etc? Showing us that information and comparing it to hyperprime apo and microprime apo would be only way to truly see.

If anyone else has other information that would be great. Slr was wrote too like 4x over past few weeks and still no response.

I have the SLR Magic APO Hyperprime set; also I have the original 50mm which was the first lens produced and that had a 62mm front thread. The lens was improved to a Mark II with an 82mm thread later and that’s the version still sold today.

I don’t have the Microprimes to compare colour and elements, etc. The Hyperprime lenses are spherical glass like a vintage lens; there’s no modern aspherical elements found in many modern lenses that are used to control aberrations. The APO and focus are achieved using all spherical elements.

SLR Magic doesn’t publish the element designs. Each design can use a different number of elements though. Let us know what you think after your camera arrives and you can test the smaller Microprimes.

i'm very curious how the SLR Magic APO lenses stack up against the new Vespid Primes?
anyone have both or have used both?