Simmod APSARA LUMIERE 4 SET 24mm
A constant T1.4 aperture across 24, 35, 50, and 75mm focal lengths delivers ultra-shallow depth of field and a painterly look with natural contrast on full-frame sensors. The set features a soft, low-profile illuminated focus mark and controlled, balanced flares for a distinct organic rendering inspired by vintage glass. This manual focus kit is best for narrative cinematographers seeking a compact, lightweight set of super-speed primes with consistent character and 270° focus rotation.
Snapshot
The 30-Second Version
Four fast, vintage-flavored cine primes that paint a gorgeous picture and flare like a dream. Skip them if you need autofocus or sharpness charts, but for pure character at a decent price, they're a blast.
Pros & Cons
Pros
- Gorgeous, organic rendering with beautiful controlled flares 83rd
- Consistent T1.4 speed across all four focal lengths 76th
- 270° focus rotation and illuminated marks are a focus puller's dream
- Compact, lightweight cine housing with standard 0.8 MOD gears
Cons
- Manual focus only, and no electronic communication with the camera
- No weather sealing at all, so keep them dry
- T1.4 is amazing, but the bokeh quality is just average for this class
- Price jumps wildly between vendors, from $3200 to over $4300
The proof
Performance
What surprised us most is how well this set handles flares. They're not the ugly, contrast-killing kind you get from cheap glass. They're controlled, colorful, and genuinely add to the image rather than ruining a shot. The 12-blade diaphragm across all four lenses keeps bokeh smooth even when you stop down a bit, though at T1.4 the depth of field is razor-thin. Focus rotation is a generous 270 degrees, which is a lifesaver for precise manual pulls, and the built-in focus mark illumination is a small but brilliant touch for dark sets. Sharpness is solid but not chart-topping, which is exactly the point. These aren't designed to out-resolve a Sony G Master. They're designed to look like a memory.
Specifications
Full Specifications
Optics
| Type | Prime |
| Focal Length Min | 24 |
| Focal Length Max | 75 |
| Elements | 14 |
| Groups | 11 |
Aperture
| Max Aperture | f/16 |
| Min Aperture | f/1.4 |
| Constant | Yes |
| Diaphragm Blades | 12 |
Build
| Mount | Sony E |
| Format | full-frame |
| Weight | 0.7 kg / 1.5 lbs |
| Filter Thread | 77 |
AF & Stabilization
| AF Type | manual focus only |
| Stabilization | No |
Focus
| Min Focus Distance | 260 |
| Max Magnification | 1:6.67 |
vs Competition
The obvious comparison is adapting a set of vintage stills lenses, like old Contax Zeiss or Leica R glass, and having them rehoused. That route gives you a similar vibe but with more hassle and often more cost. The APSARA set gives you that look out of the box with modern conveniences like the illuminated focus marks and consistent gearing. Against something like the Sony G Master zooms, there is no comparison. The Sony is sharper, has autofocus, and is weather sealed. But it also looks sterile next to these. If you're shooting a period piece or a music video and want the lens to do some of the heavy lifting for mood, the APSARAs are the clear pick.
| Spec | Simmod APSARA LUMIERE 4 SET 24mm | Nikon NIKKOR Z 17-28mm f/2.8 | Tamron Di III 28-75mm f/2.8 VXD G2 | Sigma Contemporary 10-18mm f/2.8 DC DN | Panasonic Leica DG Vario-Elmarit H-ES12060 | Canon RF 28-70mm f/2.8 IS STM |
|---|---|---|---|---|---|---|
| Focal Length | 24-75mm | 17-28mm | 28-75mm | 10-18mm | 12-60mm | 28-70mm |
| Max Aperture | f/16 | f/2.8 | f/2.8 | f/2.8 | f/2.8 | f/22 |
| Mount | Sony E | Nikon Z | Sony E | Sony E | Micro Four Thirds | Canon RF |
| Stabilization | false | false | false | false | true | true |
| Weather Sealed | false | true | true | true | true | true |
| Weight (g) | 700 | 450 | 540 | 260 | 320 | 495 |
| AF Type | manual focus only | Stepping Motor | VXD | Autofocus | linear motor | STM |
| Lens Type | prime | zoom | zoom | zoom | zoom | zoom |
| Compare | Compare | Compare | Compare | Compare |
| Product | AF | Bokeh | Build | Macro | Optical | Aperture | Versatility | Stabilization |
|---|---|---|---|---|---|---|---|---|
| Simmod APSARA LUMIERE 4 SET 24mm | 13.9 | 51.8 | 38.6 | 76.2 | 58.2 | 45.8 | 82.9 | 38 |
| Nikon NIKKOR Z 17-28mm f/2.8 Compare | 87 | 88.1 | 73.6 | 86.3 | 87 | 85.8 | 68.1 | 38 |
| Tamron Di III 28-75mm f/2.8 VXD G2 Compare | 54.6 | 88.1 | 67.2 | 87.3 | 87.8 | 85.8 | 78.2 | 38 |
| Sigma Contemporary 10-18mm f/2.8 DC DN Compare | 54.6 | 83.5 | 87.3 | 93.3 | 81.6 | 85.8 | 69.1 | 38 |
| Panasonic Leica DG Vario-Elmarit H-ES12060 Compare | 98 | 88.1 | 83.1 | 50.4 | 90.2 | 85.8 | 93.1 | 83.2 |
| Canon RF 28-70mm f/2.8 IS STM Compare | 87 | 25.9 | 70.2 | 80.4 | 85 | 22.6 | 77.2 | 98.5 |
Price
Value & Pricing
The value here is tricky because the price spread is absurd. We're seeing this kit listed anywhere from $3200 to $4347 across vendors, so if you pay the high end, you're getting a raw deal. At $3200, you're getting four fast cine primes for $800 a pop, which is actually reasonable for glass with this much personality. At $4300, you're in used Zeiss CP.3 territory, and that's a much harder sell. Shop around and don't pay a penny over the low end.
B&H Photo 2 offers From $3,200
Price History
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Overview
The Simmod APSARA LUMIERE 4-lens set is a very specific tool for a very specific filmmaker. You're getting four fast T1.4 primes in a single kit, covering 24, 35, 50, and 75mm, all with a vintage-inspired look that's all about character over clinical sharpness. The one thing to know is this: if you want clean, modern glass, walk away now. These lenses are built to flare beautifully, bloom highlights softly, and render skin with a painterly, organic feel that's hard to get from most modern stills lenses adapted for video.
Common Questions
Q: Can I use these for photography, or are they strictly for video?
You can absolutely shoot stills with them, but you'll be manual focusing every single shot with no EXIF data. The de-clicked aperture and long focus throw are built for video work, so you'll be fighting the design a bit for fast-paced photography.
Q: Do these cover full-frame sensors, or are they Super 35 only?
They cover full-frame. All four lenses project an image circle big enough for Sony's full-frame E-mount cameras, so you're getting the full T1.4 light gathering and shallow depth of field on something like an a7S III or FX3.
Q: How do they handle lens flares compared to modern cinema glass?
They flare a lot more than modern coated cinema lenses, and that's the whole point. The flares are colorful and controlled rather than being a washed-out mess, but if you're shooting against a bright window or a car headlight, you're going to see them. It's a feature, not a bug.
Who Should Skip This
If you're a run-and-gun shooter, a solo documentary filmmaker, or anyone who relies on autofocus, this set isn't for you. Go grab a Sony G Master zoom or a set of fast AF primes instead. These lenses demand a focus puller and a deliberate shooting style, and they'll slow you down in the best way, but only if that's what you actually want.
Verdict
Buy this set if you're a narrative filmmaker or music video director who wants a consistent, characterful look across your focal lengths without the headache of hunting down and modding vintage glass. The illuminated focus marks and smooth mechanics make them genuinely usable on a professional set. Just make sure you're paying the low end of that price range, and know that you're trading all modern conveniences like autofocus and weather sealing for pure image vibe.