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

The extreme wide is a little like a training wheel on a bike a kind of a panic button nothing "sexy" ever happens that wide. Get a Sony a6500 with a Sony 10-18 to grab some wides if you must the Is of the lens +the IS of the body will be sufficient.
 
Ben Scott said:
Pretty sweet lenses though right?
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They're incredible. Straight up. Beautiful pictures, and incredible bokeh, with ZERO compromise to distortions or CA... but I'm not getting the equivalent focal lengths that I thought I'd be getting (when I upgraded to one of these "readily available" vistavision cameras), and that does force you to change the way you work.

For me personally, an 18-55mm would barely ever leave the camera. And a 50-135mm would cover 99% of my longer lens needs.

I've been sorely tempted to get an FS7ii and switch out the CZ.2s to EF-mounts, so that I can use them on the camera with a speed booster and get an 18-55mm T/2 and a 50-135mm T/2. The other appealing option is to sell the Zeisses and order a set of the new Angenieux EZ1 and EZ2 zooms - which would also cover most of my needs. But I've had a play with the prototypes of the new Angies and whilst they seem very nice for the price, they don't offer the same level of optical performance you get from the Zeisses. So it's a tough call whichever way you look at it.
 
The CZ.2 s are a different class the fujis have noticeable distortion (on straight lines) and they don't have the zeiss pop they are good for the money and for certain tasks but coming from the zeisses you won't like them. The FS7- speedbooster route is attractive, I use the Otus 55 on a SB and 85mm on an regular adapter in combo.
Or sell the 28-85 and get a LWZ.3 keep the 70-200 and take a vacation from the difference.

Grug said:
They're incredible. Straight up. Beautiful pictures, and incredible bokeh, with ZERO compromise to distortions or CA... but I'm not getting the equivalent focal lengths that I thought I'd be getting (when I upgraded to one of these "readily available" vistavision cameras), and that does force you to change the way you work.

For me personally, an 18-55mm would barely ever leave the camera. And a 50-135mm would cover 99% of my longer lens needs.




I've been sorely tempted to get an FS7ii and switch out the CZ.2s to EF-mounts, so that I can use them on the camera with a speed booster and get an 18-55mm T/2 and a 50-135mm T/2. The other appealing option is to sell the Zeisses and order a set of the new Angenieux EZ1 and EZ2 zooms - which would also cover most of my needs. But I've had a play with the prototypes of the new Angies and whilst they seem very nice for the price, they don't offer the same level of optical performance you get from the Zeisses. So it's a tough call whichever way you look at it.
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Ben Scott said:
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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To me, "Run & Gun" is a shoot where the operator either has to be on a single lens all day or be able to carry every lens they will need on their person and perform a lens swap in under 10 seconds. ( that need for speed pretty much precludes carrying lenses in a backpack and necessitates the use of lens holsters ). The sort of job where you are literally running- running to get ahead of a subject ( person ) who is walking, and continually gunning- rolling hand-held for an hour straight...roll-recording for 110 minutes over a 120 minute time span. And any lens swap risks missing action. The sort of shooting done for reality-tv, for a show like 'COPS'. Or shooting for a sports doc where the subject doesn't wait for you to catch up, you are rolling on everything the subject does, there is no time for tripod shots, and you shoot hand-held for the better part of 10 hours straight with no break and no lunch. The sort of shoot where you are often shooting while walking and for that reason need something wider than 28mm. ( that need to do walking-shots was a reason the Fujinon HA14X4.5 "super wide" zoom was so popular and an industry standard ).

I don't mean to be rude, but it is frustrating to hear people who mostly do another style of shooting dismiss the need for a zoom that can do both super-wide and telephoto. It's a bit like people who rarely drive off-road dismissing the need for 4wd when offroad and making it out as if anyone who wants 4wd when offroad is lazy or in need of a crutch to make up for a lacking as a driver. Here I am thinking of the poster who incredulously asked "Who zooms while shooting?" and made it out as if only a hack shooter would ever perform a zoom in-shot. That's arrogant prima donna talk. That's the talk of someone who only does pampered, niche shooting.
 
JP
I asked who zooms while rolling?

And not in an arrogant way.

I tend to "fire and manoeuvre" often rolling to keep sound continuity but will run ahead of the subject pulling a static non zooming composition for a few seconds before running to the next "spot" and focal length

This completely relies on no time to change lens and that lens offering wide and tele on one lens but not a parfocal lens that can creep zoom

My zooms are not sposed to go in the edit - I'm not rolling picture that is usable when running between "spots"

I only use a zoom as a multiprime if you get me?
 
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There is no justified scenario for a 10 hour on the shoulder continuous shooting with no breaks. What it means that multiple crews would have been necessary for this production. There is simply no piece of content that is worth these kind of working conditions. I sleep 8 hours a day I eat three meals if thats an issue the client can go F--Ck himself. Life is too short.

JPNola said:
To me, "Run & Gun" is a shoot where the operator either has to be on a single lens all day or be able to carry every lens they will need on their person and perform a lens swap in under 10 seconds. ( that need for speed pretty much precludes carrying lenses in a backpack and necessitates the use of lens holsters ). The sort of job where you are literally running- running to get ahead of a subject ( person ) who is walking, and continually gunning- rolling hand-held for an hour straight...roll-recording for 110 minutes over a 120 minute time span. And any lens swap risks missing action. The sort of shooting done for reality-tv, for a show like 'COPS'. Or shooting for a sports doc where the subject doesn't wait for you to catch up, you are rolling on everything the subject does, there is no time for tripod shots, and you shoot hand-held for the better part of 10 hours straight with no break and no lunch. The sort of shoot where you are often shooting while walking and for that reason need something wider than 28mm. ( that need to do walking-shots was a reason the Fujinon HA14X4.5 "super wide" zoom was so popular and an industry standard ).

I don't mean to be rude, but it is frustrating to hear people who mostly do another style of shooting dismiss the need for a zoom that can do both super-wide and telephoto. It's a bit like people who rarely drive off-road dismissing the need for 4wd when offroad and making it out as if anyone who wants 4wd when offroad is lazy or in need of a crutch to make up for a lacking as a driver. Here I am thinking of the poster who incredulously asked "Who zooms while shooting?" and made it out as if only a hack shooter would ever perform a zoom in-shot. That's arrogant prima donna talk. That's the talk of someone who only does pampered, niche shooting.
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This probably works for covering a chef but maybe not a cop - the chef is basically predictable - the cop operates in a less predictable environment.

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And that is one thing that bugs me about these bigger lenses with a foot but not full reach - you can't change em out fast enough and the foot tangles with a pouch
Three small primes work better for fire and manoeuvre shooting than the wrong big zoom
 
icarusfilm said:
There is no justified scenario for a 10 hour on the shoulder continuous shooting with no breaks. What it means that multiple crews would have been necessary for this production. There is simply no piece of content that is worth these kind of working conditions. I sleep 8 hours a day I eat three meals if thats an issue the client can go F--Ck himself. Life is too short.
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Ever heard the saying "If you cannot go 5 hours without a toilet break, 10 hours without eating, or 20 hours without sleep...you shouldn't be in the filmmaking business."?

Not endorsing that. Just repeating something I often heard since first getting into this biz.

Ever had one of those jobs where the Producer says "If you guys don't mind skipping the scheduled lunch break we can be completely wrapped in another hour." The crew agrees to skip lunch...and then the production goes another 5 hours.
 
JPNola said:
To me, "Run & Gun" is a shoot where the operator either has to be on a single lens all day or be able to carry every lens they will need on their person and perform a lens swap in under 10 seconds. ( that need for speed pretty much precludes carrying lenses in a backpack and necessitates the use of lens holsters ). The sort of job where you are literally running- running to get ahead of a subject ( person ) who is walking, and continually gunning- rolling hand-held for an hour straight...roll-recording for 110 minutes over a 120 minute time span. And any lens swap risks missing action. The sort of shooting done for reality-tv, for a show like 'COPS'. Or shooting for a sports doc where the subject doesn't wait for you to catch up, you are rolling on everything the subject does, there is no time for tripod shots, and you shoot hand-held for the better part of 10 hours straight with no break and no lunch. The sort of shoot where you are often shooting while walking and for that reason need something wider than 28mm. ( that need to do walking-shots was a reason the Fujinon HA14X4.5 "super wide" zoom was so popular and an industry standard ).

I don't mean to be rude, but it is frustrating to hear people who mostly do another style of shooting dismiss the need for a zoom that can do both super-wide and telephoto. It's a bit like people who rarely drive off-road dismissing the need for 4wd when offroad and making it out as if anyone who wants 4wd when offroad is lazy or in need of a crutch to make up for a lacking as a driver. Here I am thinking of the poster who incredulously asked "Who zooms while shooting?" and made it out as if only a hack shooter would ever perform a zoom in-shot. That's arrogant prima donna talk. That's the talk of someone who only does pampered, niche shooting.
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No I absolutely get that in your line of work you need a wider lens for what you do. In my line of work a 16mm is a speciality lens brought for certain things. Even when I do car interiors I used an 18mm on a speedbooster.

But run & gun for me is bare basics turn up with only the gear I can carry and nobody to aid or assist and so moving and travelling light with stripped back setup. I've done run & gun narrative, run & gun music promo and run & gun doc stuff. Even run & gun branded content. Tons of stuff I'm just there to get coverage but even then I'm not there to roll non stop so I can swap stuff out or go from legs to handheld.

Every time I see the zoom out reveal news report intro I laugh. Can't help it. It's an aesthetic that jars me.
 
I sleep, eat well, no fast food, stay in min 4 star hotels fly only direct flights Will hit you with meal penalties, Overtime etc. Ive been doing this for over 20 Years. Again no film is worth it otherwise. The whole self immolation fetish in this industry I can do without. Also the producers that prefer sane working conditions also get more done, maybe bacause they and their crew eats and sleeps regularly.
 
It has taken me many many years to get to a point where I don't feel bad for wanting to be treated like an actual person rather that a filming robot.

If the hours need doing or we have to go without lunch it is always made up for but I simply do better work when treated well. Also, decent Producers understand that a break from shooting allows everyone to regroup and review and come back stronger.
 
Like all industries the screws are being tightened.. I remember the hours worked as an assisatnt in the 80,s.. 8hr was standard.. meals.. un thinkable to miss.. plenty of breaks.. but this was also on film.. which cost money.. big problem now.. its not even tape.. in fact production is not even paying for the recording medium.. so of course .. shoot all day.. scorched earth filming occurs .. with the young cheap dir who knows nothing.. no problem just shoot everything anyway..
And some how this macho cameraman thing has evolved.. playing right into their hands.. 10hrs without eating.. 20 hors without sleep.. jesus if i had those jobs I,d rather work flipping burgers.. better rate and you get to eat.. thats not working in the tv industry.. thats bollocks.. and the final nail in the coffin.. is literally that.. alot of crew dying behind the wheel now.. the late and great Haskell Wexler started a big move to get a 10 hr turn around.. after a rash of deaths of crew driving after 20 hr days.. JP seriously you are really taking a big risk doing those sort of shoots.. another old saying.. "Ive never worked on anything worth dying for yet.."
 
Starting out in the mid-late 90s I used to do 90hr weeks on less than minimum wage. Screw doing that again and screw making newbies do it as a rite of passage.
 
Its a trade off. We wanna be macho, but don't want to be exploited.

The cop show, a siege.. we wanna pile along sit in a ditch for 14 hours, get the bang bang , but only because it was televisual gold and the producer will give you a day off in lieu. We do not want such days to be an acceptable norm due to cost cutting.

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Donny you getting me on my use of a zoom? basically shooting at three prime lengths, but not having time to change between primes because it is all happening too fast.

S
 
There's no doubt exploitation is getting worse. And there's no doubt freelancers get abused more than in-house teams. I'm so used to being abused by production companies I've forgotten what normal is. Shoot, fly, repeat is the mantra in the world I inhabit. Take the rough with the smooth... Don't complain... Crack on... And most people think I'm on a jaunt... What absolute bollocks.
 
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