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

Ben Scott said:
I say this in the nicest possible way, but Andrew from EOSHD is cray cray.

If he had his way everyone would still be shooting on 5D MK2s and talking about camera revolutions.
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Did you look at this test? Can't see any particularly crazy conclusions there. Looks like a nice lens, and I more-or-less agree with his conclusions. Not trying to defend him personally (don't know him from Jack), but trying to sort the signal from the (significant) noise on this thread... ;-)

jason
 
Just follow him on twitter for a few days :)


I've owned and quickly sold SLR Magic stuff and shot with Cooke stuff. It's like comparing a Mazda MX5 with a Ferrari because the Mazda will get you most of the way there.
 
Ben Scott said:
It's like comparing a Mazda MX5 with a Ferrari because the Mazda will get you most of the way there.
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Righton man, I hear you. As I said though, regardless of his silliness on other fronts, he can still probably compare two lenses on a technical level, no? I'm not for a moment suggesting that SLRmagic are going to be competing with Cooke for business anytime soon (or indeed, ever). HOWEVER, from the samples he's posted the images from the two lenses compared DO look closely comparable, with the small exception that the Cooke's CA is much more pronounced wide open.

Any thoughts? Anyone?

jason
 
I've just seen test samples from both the anamorphics and the APO HyperPrimes, and the anamorphic look unusable. The APO HyperPrimes on the other hand seem like they are. As I mentioned earlier some guys at the reduser forum said that they did a test and they weren't "in love" with the Celere lenses, but said that the SLR Magic lenses were good.
They tested the 50mm and 85mm.

Here's what Scott Devitte said about them at reduser:
"The other surprise to all of us- The SLR Magic APOs. If they can round out the set and maintain the really special rendering, and build quality, and actually deliver the lenses, at the price they are quoting, they will be the APO no brainer, with the possibility of carving out a niche much like-

-the Sigma 18-35, at $800 ef mount or $$ cine-vised, is a wonderful workhorse of lens, probably the one RED shooter lens that everybody wants in their kit, the tests confirmed why."
 
Milan O. said:
I've just seen test samples from both the anamorphics and the APO HyperPrimes, and the anamorphic look unusable. The APO HyperPrimes on the other hand seem like they are. As I mentioned earlier some guys at the reduser forum said that they did a test and they weren't "in love" with the Celere lenses, but said that the SLR Magic lenses were good.
They tested the 50mm and 85mm.

Here's what Scott Devitte said about them at reduser:
"The other surprise to all of us- The SLR Magic APOs. If they can round out the set and maintain the really special rendering, and build quality, and actually deliver the lenses, at the price they are quoting, they will be the APO no brainer, with the possibility of carving out a niche much like-

-the Sigma 18-35, at $800 ef mount or $$ cine-vised, is a wonderful workhorse of lens, probably the one RED shooter lens that everybody wants in their kit, the tests confirmed why."
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Thanks! I found more info on the SLR Magic APO Cine's and one owner described them as having a slightly vintage look and noted that they are a spherical design. I also remember reading a criticism of SLR Magic for their unresponsiveness to inquiries about the line. And, if I am not missing it, when you go to their website there is little available information about the APO Cine's. The website only lists the 50mm and doesn't even mention the other two primes. All of which is a bit disconcerting and not encouraging as far as there eventually being a complete set.

Maybe it is good for my wallet that I find something about every make of prime lens that puts me off to it. I very rarely have a job where primes are requested or needed and the instances where I could charge additional for prime glass are few and far between. And there is a lens rental house less than a mile away from where I live, so I have easy access to primes / cinema glass should the situation arise. I just want some primes.
 
JPNola said:
Thanks! I found more info on the SLR Magic APO Cine's and one owner described them as having a slightly vintage look and noted that they are a spherical design. I also remember reading a criticism of SLR Magic for their unresponsiveness to inquiries about the line. And, if I am not missing it, when you go to their website there is little available information about the APO Cine's. The website only lists the 50mm and doesn't even mention the other two primes. All of which is a bit disconcerting and not encouraging as far as there eventually being a complete set.

Maybe it is good for my wallet that I find something about every make of prime lens that puts me off to it. I very rarely have a job where primes are requested or needed and the instances where I could charge additional for prime glass are few and far between. And there is a lens rental house less than a mile away from where I live, so I have easy access to primes / cinema glass should the situation arise. I just want some primes.
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You're welcome JP!
Yeah, that's what I've found out so far as well.
I've seen a couple of interviews with Andrew Chan (SLR Magic). I can't claim that I'm an expert in judging personalities but I think that he might be more into optics than marketing. Therefore I wouldn't judge the line from what their own website says. He said in an interview that there will be more versions coming out, but didn't say exactly when. You can order the "complete" (so far) kit from Proav, 3dbroadcastsales and CVP in the UK, AFAIK, and I guess that they can give more information about the products and their availability.

I feel the same about the primes. :)
I've read many good things about the Sony Cine Alta lenses, but they are a bit heavy. Some of the lenses in the Sony set seem to breathe more than others, and I'd really like to find lenses that breathe very little. The new Tokinas seem promising in that regard (and are also faster), but they're more expensive too.
That's also one reason to wait with the SLR Magic lenses, since there are almost no tests available and one would like to check the consistency in colour, breathing, bokeh and so on between the lenses in the set before investing in one.

Personally I hate changing lenses and a really good zoom is probably the way to go for me, primes are usually faster and lighter. Therefore I wish that something similar to the new Fujinon was available for PL, but I guess I'll just have to save for a while and get a nice 15/16-40/47mm something zoom lens (probably used Optimos or Canon lw cine zooms, or the new EZ from Angénieux) and complete it with a tele version later, or get a 19-90 Fujinon if I can afford it.
 
I think the owner operator market for large sensor cameras has grown tremendously, the last ENG guys I know in NY are switching to Fs7's and the like so there is a huge demand for proper super 35mm zoom lenses, no pro wants to fiddle around with some annoying photo zoom regardless of what the children of the DSLR video revolution think. At the same time they also don't want to drop 30K on a lens anymore either I think that 10k for a main workhorse zoom feels right to a lot of people and thats where the rubber hits the road. a 10kish Lens on a 10kish camera.
 
Icarus, I think you're right. The FS7 is very popular here in Stockholm too, where the majority of productions take place in Sweden. Those that already have the F5 or F55 shoot with those of course, but now the people hiring for ENG jobs are asking for FS7 very often. One of the reasons, I believe, is that a lot of people in the role of hiring freelancers actually don't know anything about camera equipment, so they just repeat what they've heard someone else say.
There's no 4K broadcast in Sweden. Most of the time they would probably still get away with using an F3 or C300, but they don't know that. :)

Regarding the price of the lenses there's also the thing with the technology evolving so fast these days. It's one thing to buy a lense for 30K if it can last you ten years, but if it's "obsolete" within four or five years, you might not be as eager to buy it.
 
Wes. said:
What would you match the 20-120 with, as a wider lens? PL CINE Tokina 11-16?
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Or the G.L.Optics 11-20mm T 3.0. ( $3,650.00 ) One thing about that lens- it is backwards iris AND backwards zoom-ring direction. And that would likely drive me almost as nuts as backwards focus.

We all want a wider wide-end and a faster stop on a zoom...but look at what happens when a lens maker give us both-

Fujinon 18-85mm T2.0 : weight- 15.2 lb, price- $87,300.

___________


For whatever reason, it appears that most all of us have written off the Canon 18-80mm cine servo as not for us. It gets little mention in any of these zoom lens conversations. Maybe because it is too slow in speed...maybe because its focus action has been described as having "stills lens-like feeling". I'd just as soon go with the Sony 18-110mm as the Canon 18-80mm. The Sony is just as slow in max aperture but is a full $1700 less in price.


One last thing- physical size, in addition to weight, is a consideration. The Fuji MK's have the size down right, imo. They just go well with the physics of the Fs7. While the Fuji 20-120mm seems massive on the Fs7 and far less practical in terms of size. Fuji MK is 2.16 lb, Fuji 20-120mm is 6.4lb, well over twice the weight.


Fuji MK 18-55mm-

MKsmall.jpg



Fuji 20-120mm-


IMG_7242-600x450.jpg
 
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the Fuji MKs are small and light enough to swap quickly in the field you can easily deploy with a 18-55 on the camera and the 50-135 in a pouch and have a well balanced lightweight rig.
 
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