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

icarusfilm said:
There is the psychological effect yes, but ultimately its about functionality the rig balances perfectly on my shoulder, the viewfinder is less straining on the eye and also extremely fog resistant, the wooden handles are more comfortable and never slip even if your hands are wet and I always use a Pol filter when shooting outdoors on sunny days.
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Ofcourse.. yes you have to be able to work with it.. if you have to climb up a mountain .. yes ditch alot of the shiny stuff.. but for the average shoot.. esp corp,s.. I think that it does really work to have a "fancy" looking setup..
 
It's funny - when I started I always idolised the guys with the brassed nikons not the shiny new ones as they were touted by the newbs
 
Grug said:
I'm pretty sure Fuji gave these lenses my initials (MK) just to mock me for having spent so much on the Zeiss CZ.2s, which I thought would be giving me equivalent focal length coverage to these on all of the (then) rapidly forthcoming vistavision-sensored cameras...

Almost two years later, and there are STILL no bloody vistavision cameras around, and I've got one of the greatest lens manufacturers in the world taunting me :(
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Pretty sweet lenses though right?
 
Donny 123 said:
I think that it does really work to have a "fancy" looking setup..
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One of my mentors owns a small ad agency that produces a majority of their content in-house. But when they get enough of a budget to hire freelancers like me, he always reminds me to make sure I "Hollywood it up" a little bit.

Might be overkill, but there's something to be said about the perception of getting what you pay for, especially at the corporate level. We're creatives, we can always do more with less. But business people see a lot of gear and think "Wow, these guys know what they're doing."
 
morgan_moore said:
It's funny - when I started I always idolised the guys with the brassed nikons not the shiny new ones as they were touted by the newbs
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Thats a bit different.. the lens was expensive in the first place.. the brassed shows they have been around the block .. and maybe in some stills worlds.. like Street,War.. where every ding has a story that will get you a free drink.. or get you a night out with impressionable girls from art school.. but dinged up gear in the video corp,commercial,broadcas world is different .. your the guy who doesn't have much work.. because he's not very good..
 
You guys have it all wrong. Just buy a bunch of use peli cases and flight cases with stickers on them. Never open them but store them in the corner for a shoot. Never fails to impress.
 
It was standard on commercials .. the gaffer would get every light out of the van on a stand.. I remember as an AC building flag forests as we used to call them.. around the lens.. client and dir monitors all flagged up.. C stands everywhere.. all shiny silver boxes lined up.. get all my marks taped up on F11 wide angle lens ..static pack shots .. plug every accessory in .. cables up the Watoosi.. producers instructions.. let the client see what they are paying for..
 
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icarusfilm said:
...its about functionality...and I always use a Pol filter when shooting outdoors on sunny days.
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Nice rig. Does that Vocas Matte Box accept 4x5.65 filters, & have internal eyebrows? Been thinking of picking up a MB with those features to replace my beat up Chrosziel.

Most my work still involves jumping on flights so I typically travel without a Matte Box, or Brick Batteries, though if practical I'll sometimes rent them at the destination, but one of the many features I like about the Fujinons is it appears they can use 82mm filters attached with Xume adapters, & the OEM hoods.
 
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That vocals only does 4x4. Zume will work I used to that but having 77s, 82s, 72s, and 86s it's just less of a headache to use a mattebox. And believe it or not that whole rig including two lenses and 2 bricks break down into 1 carry on think tank backpack.
I travel a lot us and internationals actually getting rid of some Sony components made the rig smaller just that viewfinder is a quarter the size of the Sony one.
 
My FS7 is built very similar to yours just with different brand parts, & half-length baseplate. Love the EYE & wood grips. Ditching Sony's EVF, Smart Grip, & Shape Arm, saves a lot of space for other bits, while slimming down it's girth.

I'm probably going to wait to see what NAB brings but sorely tempted to grab the 18-55mm soon.
 
It's a lot of lens for very little money and it's so sharp that using it in crop is no issiue. For my handheld broadcast doc shoots its perfect.
 
Ugh...all this talk makes me want to get one but the e-mount ruins it. I still have to shoot Canon sometimes so I need that EF mount for flexibility. The $10k for the Fujinon 20-120 sounds tempting too but the T3.5 may not be fast enough. Where is MY perfect lens?!? :)
 
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You genuinely cannot notice the iris ramping on the Zeiss and it is lovely quality. Size wise it is in between the fuji and the Zeiss Compact zooms. Weight wise it is still pretty light if not Fuji light. Plus you can change the mount yourself in 5mins.
 
If my work would rely heavily on a zoom I would run and get the lwz. It's ultra sharp has no noticeable distortion and the interchangeable mount. 10k is actually an excellent deal for a lens like that.
 
icarusfilm said:
If my work would rely heavily on a zoom I would run and get the lwz. It's ultra sharp has no noticeable distortion and the interchangeable mount. 10k is actually an excellent deal for a lens like that.
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You'd be satisfied with the 20mm wide end? I am wanting 16mm on the wide end. Even 18mm is a compromise from what I need for ENG / Run & Gun.
 
ENG and Run & Gun aren't interchangeable though.

I do plenty of run and gun on a 28-85. And plenty on primes come to think of it.
 
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