FS7: Fujinon announce MK 18-55 T2.9 and MK 50-135 T2.9

I use zoom moves pretty frequently. The good old crash zooms only come out on very particular films, but they're a delight when used well. It's the slow creeps in towards or out and away from characters at emotional moments that really get a good run I find.

Also, I use them in conjunction with dolly moves all the time to enhance the apparent range of the move.

It's a great tool when used well.
 
Grug said:
The good old crash zooms only come out on very particular films, but they're a delight when used well.
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I can't believe I just read this whole thread in one go. Interesting stuff. I wish it wasn't 6:00am, though.

I think the new Fujinon lenses are really interesting. The standard cine lens benefits aside, it's the constant max T stop and optical quality that really stand out. There are about 4-5 demo videos out there, and the look from the Fuji 18-55mm has really caught my eye. I was surprised how much better the lens looked vs. what I was expecting. I really think there is something special in the way this lens renders images. The focus falls off in a gentle way, and while sharp, it's not clinical or video-like. it seems to compliment the FS7's 4K sensor well.

The 3 best demo videos are probably the Newshooter piece shot in the "Aperture" used camera store, the short about the cemetery done by Cinema5D, and Bloom's test at the beach.

The safe choice (for me) would definitely be the Sony 18-110mm f/4, but despite everything, the image quality out of the Fujinon makes me want to forget all the technical "benefits" of the Sony zoom. I especially like the way the Fuji smoothly handles contrast and bright light sources. It just looks "filmic" to me (whatever that means), and I'm not talking about the video grade. Anyone else agree re: the IQ? The Sony seems a bit flat and lifeless when compared, and f/4 is a stop too slow on an S35 sensor, IMHO. (That said, I'm afraid I'll end up with the Sony.) :/
 
Ben Scott said:
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Love your work sir.. you got the every essence of the hamsters emotions there.. the red balloons .. a touch of genius.. French new wave inspired one would hazard a guess.. but in a very organic ,cinematic way.. bravo ..the zoom used as it should be.. AF I presume.. but cant have it all .. excellent work..
 
Barry - I haven't had the time yet to check out vids using the new Fuji's - but agree that what I've seen from the 18-110mm reminds me very much of what I saw using the Sony 28-135 for exactly one shoot... rather lifeless & flat images.
 
morgan_moore said:
the thing is I guess is I dont actually like the 17-120.

Yes I understand when it is needed.. on a certain type of production.

But my own work usually uses primes that cover a wider range of FOVs, at faster Tstop.

That is why I feel appropriate that that production rents it.

Also if it is not in very regular use it is a drain on cash.
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What you made me write all that.. and now you dont even want a CN7.. I was going to give you mine.. ! just so I could go to bed with a cup of tea.. how on earth do you ever think you are going to break into the golfing world shoots wth this attitude.. come on man.. pull your socks up lad..
 
This thread is delivering some laughter, so thanks lads.


I've shot with the 17-120, Holy heavy! I own the 24-105 with speed booster and currently shoot television. The lens rarely comes off my camera, except to switch to a tokina 11-16 for specialty super wides. I also have a 70-200 f4 that I use with the speed booster, but the constraints of this current job don't often allow time for lens changes. But with that said, Switching to center crop mode (shooting 1080 of course) has been a god send for fast paced tight shot needs. I'd love for that center crop to be cropped through a better optically performing lens

What's important to note is that I don't like working this way, but this is the way that this job needs me to work right now. (everything has an end point, and this one's is coming up).


Earlier it was said that you buy the gear for the job's you have, not the jobs that you want. I sort of agree with that, but I also think that it's a bit off putting. I want the nice gear, and the good rates, and all of what Donny 123 had said.


I bought this fs7 nearly two years ago, i've had the 28-135, hated it and sold it. I read that the 18-110 doesn't have the same zoom -by-wire BS that the 28-135 had.... That's been the most recent pique of my interest in it. But the sony 18-110 is quite expensive for what it is, and isn't.


There doesn't seem to be a perfect lens yet, that I agree with you about, Sam (morgan_moore). I think it's all a combination of what you need right now for what job you are doing right now. These FUJI's seem like a great option, but not the end all be all. For a super fast paced day shooting reality style television (cooking, tight shots, wide masters) it could be complicated. But also, those shoots tend to have an A/B cam setup, so one camera could get the wide lens, and one the tight lens, and everything should be fine. While they're not perfect, they're damn better than most of what else is available for a similar price point.

I think when both are available, if nothing better has came out, I might make the jump to a set. Combined with the 11-16 tokina I already have I'd be quite happy. (but would probably want to get their Cinema edition for step free iris, god I hate the stepped iris crap)
 
'In my work I use primes almost exclusively and I rarely use zoom lenses"

translation: "I hardly ever work and half the time I do it's for free." :evil:
 
JPNola said:
'In my work I use primes almost exclusively and I rarely use zoom lenses"

translation: "I hardly ever work and half the time I do it's for free." :evil:
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Or not. But the primes thing was a lie, solo I use
10-24 stigma
50 1.4 nikon
28-85/booster nikon
50-300 (day) nikon
180 2.8 night nikon
.. not to mention EX1, GoPro GH4 and the Black Tragic Micro (phasing out the Gh4)

The weak link is the 28-85/booster thing. I use that lens because it is manual unlike the 24-105

Yep Ex1, lots of EX1, more EX1 than ever!

Typically I will take both and do the mayhem with an EX1 and the Art with FS7 and primes.

But if Im directing at least I know the limits of what I have onboard.

Ive been supplied with the 17-120 on TV show which was certainly not my work - I was an operator.
 
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I think $3,500 is a lot, at least to not be the least bit excited to own it. Maybe that means it's the most rational choice, but the inner camera geek in me is rebelling.

There are times I feel like selling all my lenses and simply making the Zeiss Otus trio work (using a speed booster as needed). If I miss a shot, well, at least I missed it for a good reason. And, by my own stubborn (and possibly very flawed) logic, the shots I do get should more than make up for the missed shots anyway! Maybe add in the Milvus 18mm and 135mm, for a GT of 5 lenses. You either appreciate the pain and suffering I endure for my art, or you don't. Take it or leave it. lol
 
Adorama has had it for about a week.

Sony is the practical decision, but I just don't want it.

I want the Fujinons. Anyone ever feel like they just NEED a lens?
 
NorBro said:
Adorama has had it for about a week.

Sony is the practical decision, but I just don't want it.

I want the Fujinons. Anyone ever feel like they just NEED a lens?
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I've felt I need a set of Zeiss Super Speeds for some time now.


It sure would make a world of difference were that Sony 18-110 an f/2.8, now wouldn't it? Hard to have much love or even enthusiasm for an f/4 lens.

Were it an f/2.8, the $3500 price tag would be more palatable. Seeing as it is an f/4, $2800 seems a more fitting price tag. I might have to wait on picking one up until they hit the second hand market. And by then, who knows, someone may come out with our dream zoom.

f/4 is a like a date with the girl your mother picked out for you.
 
BarryLichtner said:
I think $3,500 is a lot, at least to not be the least bit excited to own it. Maybe that means it's the most rational choice, but the inner camera geek in me is rebelling.

There are times I feel like selling all my lenses and simply making the Zeiss Otus trio work (using a speed booster as needed). If I miss a shot, well, at least I missed it for a good reason. And, by my own stubborn (and possibly very flawed) logic, the shots I do get should more than make up for the missed shots anyway! Maybe add in the Milvus 18mm and 135mm, for a GT of 5 lenses. You either appreciate the pain and suffering I endure for my art, or you don't. Take it or leave it. lol
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I have been shooting entire doc projects on the 55mm Otus on a speedbooster paired with a 18mm on a a6300 on a gimbal my clients love the imagery, i picked up an 85mm Otus and and will get the fujinon for flexibility but the Otuses is where its at.
 
"f/4 is a like a date with the girl your mother picked out for you."

So true. There is zero hope any fun will be hand. It's also the zoom I would expect to see on the front of a camera being used by a small band of feminists shooting a low budget doc on some dreadfully boring social issues topic.

*Just to be clear, I have absolutely nothing against feminists or social issues docs. And I might actually buy this ****** lens.
 
Had a play with the Fujinon at the BVE show yesterday (I didn't notice Philip Bloom standing next to me about to start a presentation!).

The lens seemed very sharp wide open and it looked at home on the FS7 (also looks great on the FS5). I then had a play with the Zeiss LWZ.3 and even though the Zeiss had extra reach, I preferred the image from the Fujinon. Admittedly, the lighting conditions between stands was totally different so I can't really be too harsh but the zoom ring on the Zeiss didn't feel half as smooth as the Fujinon.

I would like to try out both lenses in the field but from a size/weight/(initial) sharpness factor, the Fujinon is currently at the top of my list for cine zoom lenses.

EDIT: I forgot to add I had a play with the Sigma Cine Zooms, the 50-100 is built like a tank. I had a play on the 18-35 (on an FS7) and it looked a little soft wide-open.
 
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