If you’re looking to upgrade from using DSLR lenses, but can’t afford the cost of expensive cinema primes, there is now a middle option … a pair of super fast cine zooms from Fujinon, which promise high performance, at a budget price.
“The rapid growth in popularity of content produced by emerging cinematographers has expanded the use of cinema and digital photographic cameras. And the heightened need for programming has, in turn, boosted demand for high-performance cinema lenses, which are ideal to achieve a shallow depth-of-field and a beautiful bokeh.
“However, since they are typically large, heavy and expensive, those involved in online and other lower cost productions often opt for interchangeable lenses for digital cameras, which have been more affordable and mobile. The problem is that interchangeable lenses for digital cameras are designed primarily for shooting stills, and therefore prone to focus shift and optical axis shift while zooming.” – Tom Fletcher, Director of Sales, Optical Devices Division of Fujifilm
The two Fujinon lenses announced today by Fujifilm include the MK18-55 T2.9 and the MK50-135 T.2.9. And we’re talking 2.9 all the way down the focal length, so that’s pretty impressive. The lenses were designed around the Super 35mm video sensor, but also work with APS-C sensor cameras as well.
“Many independent shooters use DSLR lenses, which aren’t designed for moving images. Still lenses breathe considerably, and they have no adjustable manual iris. Our MK’s have a seamless manual iris, zero breathing, no ramping or zoom shift, and 200-degree focus rotation. They maintain focus completely throughout the zoom range while covering Super 35mm sensors.” – Fletcher
Both lenses are about the same size at 980 g and 2.6.3 mm, are parfocal, and aren’t plagued by focus breathing or zoom axis shift. Lens diameter is 85mm and they enjoy about a .8 pitch focus and a 200° range of focus. The lenses also employ Fujinon’s Flange Focal Distance adjustment function and are designed for consistent iris, zoom and focus rings and will keep the balance and weight of your camera the same.
This translates to being able to keep your follow focus and matte box positions the same, so camera operators aren’t having to take time to fine tune those adjustments either. The iris ring is also click free to make precision adjustment without any sound while filming.
“I’ve been using the MK18-55mm for the last couple of months and it’s a great lens for actuality, with nice range. I have real frustrations working with DSLR glass because they don’t have the video functions I was so used to shooting with ENG lenses. And being parfocal, the focus doesn’t change when I crash in or pull out. Incredibly useful for documentary filmmakers.” – Philip Bloom
Color temperatures are also integrated with other lenses in the Fujinon Cine HK/ZK/XK line. This means that using another Sony camera with one of those lenses as part of your camera coverage simplifying the color grading workflow. The lenses also inherit Fujinon’s edge to edge optical design performance for low lens distortion.
The first in this series to be introduced, the MK18-55mm T2.9, will be available in early March at a list price of $3,799 (click here to pre-order). Next comes the MK50-135mm T2.9, which will be available this summer. Price is TBD (click here to get notified when pre-order is ready). In addition, Fujifilm also hinted that more MK lenses are coming later in the year, including X mount versions, as well as ultra wide angle and telephoto lenses for 2018.