Canon: Mean MTF50 Center 0.360 Corner 0.289.FUJINON: Mean MTF50 Center 0.372 Corner 0.347.Zeiss: Mean MTF50 Center 0.356 Corner 0.338.Then look at how the FUJINON performs:įUJINON MK18-55mm T2.9 – Corner Sharpness at 55mm Pop on any photo lens and try for yourself if you get the breathing effect. This is generally unwanted in video and film productions, and a feature that FUJINON decided to master with this lens. Other lenses breathe a lot more when you focus, making it seem as though you were zooming in or out while racking focus. While focusing, the FUJINON MK 18-55mm T2.9 holds its promise of maintaining close to a stable image. In reality, this lens is (almost) breathless. Read on for our FUJINON MK18-55mm Review from the Lab: No Breathing?
Another limitation worth mentioning right away is that the new FUJINON Cine Lenses will only cover a Super35 / APS-C image circle, meaning that they are not suitable for full-frame cameras without using some sort of sensor-cropping mode. Internal Zoom and Focus – The lens doesn’t extend, a feature needed when using a Matte Box and filters.įor now, the FUJINON MK 18-55mm T2.9 comes in native E-Mount only, suitable for all those popular large-sensor Sony cameras we’ve been seeing in the last two years.Hard stops – Better than endless focus and necessary when using follow-focus tools.Larger focus throw – For more precise control while focusing.Smooth Focus and Zoom gears – Made to be used for “motion photography”, for smooth zooms and focusing.Game-changing for focusing quickly – punch-in focus the analog way. Par-focal – When you zoom in, the focus doesn’t change.The FUJINON MK 18-55mm T2.9 should be interesting for documentary-style large-sensor shooters because it answers many if not all concerns we have with photo lenses:
The Sony 28-135mm was the first of its kind ( reviewed here), Canon was next, and now FUJINON is the one to catch our interest. Only recently manufacturers have finally started delivering zooms that are fit for video production and are not as heavy on the lens barrel and the wallet as high-end cine zooms.
#SERIF PHOTOZOOM CLASSIC 6 REVIEW MANUAL#
As many of us shoot documentaries or documentary-style projects, using photo zoom lenses has been a real frustration as they’re designed for photography, meaning they have a short focus throw, no hard stops, no manual iris control, clunky zooming, breathing, are non par-focal… the list goes on, as these are considerations that aren’t really relevant for shooting still images. Why is this Lens Interesting for Cine Shooters?įirst of all, let’s look at why this lens is interesting for us! For many years, large-sensor video shooters have been forced to use photo lenses with our Canon, or Canon-adapted large-sensor cameras. The FUJINON MK18-55mm T2.9 is the first of two complimentary zoom lenses and it’s already on our test bench – here’s our FUJINON MK18-55mm Review.įeaturing a claimed non-breathing focus mechanism, par-focal design and fully-geared cine lens controls, let’s confront this newcomer with our 8K test chart and compare it to the infamous new Zeiss LWZ.3 21-100mm T2.9-3.9 and a similarly-specced Canon photo lens.Īlso, check out our Hands-on FUJINON MK 18-55mm with Footage HERE. FUJINON just introduced a new line of affordable E-Mount Cine Zooms made for documentary-style cine shooters.
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