- High optical performance and low distortion through the 18-55mm focal length with T2.9 speed
Cinematographer Maejima Kazuo
The Status Quo in the Movie Production Industry
Although low-priced cinema cameras have been broadly adopted by the market in recent years, there have been virtually no dedicated cinema lenses available. Inevitably, in most cases, DSLR lenses would be used instead. But because those lenses are essentially designed for shooting photographs, there are certain situations where their limitations become apparent. When you’re shooting on location, where every second counts, it can be a struggle to get the results you want by using DSLR lenses. Because the MK18-55mm T2.9 is a cinema lens developed specifically for movies, it eliminates all of the usability hassles associated with DSLR lenses. Next, I want to talk about what set the MK Lens apart from a DSLR lens when I used it for shooting a movie—the differences in terms of their optical (internal) elements and mechanical (external) elements.
The Birth of a 980g FUJINON Cine Lens
When I got my hands on the MK18-55mm T2.9 lens, what struck me first was how much it felt like a high-end cinema lens. The tactile sensation of its exterior and the smooth torque of the focus/zoom/iris rings, all of which feel just like those on a high-end cinema lens. As well as the same tight, clean and imposing appearance inherited from other FUJINON Cine Lenses, such as the ZK and XK series. But what surprised me most was its light weight: just 980g. A common belief among cinematographers is that cinema lenses have to be big and heavy. But once you get your hands on the MK Lens, you’ll see things in a different way. In my work, I often do shoots with DSLR lenses. So, what used to be common sense to me was turned on its head: even though it’s a cinema lens, it’s actually lighter than DSLR lenses.
Differences with DSLR Lenses: Optical (Internal) aspects
First of all, regarding the optical elements, there are three main points of difference. First, the focal point doesn’t shift while zooming. In other words, you can incorporate zoom movements into your movie. This is a big deal. Slow zooms in particular provide an extremely effective cinematic accent. Once you focus, you can change to any angle of view—this is also a huge advantage. Having to readjust the focus each time you change the angle of view before shooting is surprisingly time consuming. Each little bit of time adds up to become a huge amount of time, and this just puts more pressure on during a shoot. The MK18-55mm T2.9 doesn’t use electronic controls. Controlling the focus movement is done optically and mechanically. So focus precision is equivalent to that of a high-end cinema lens.
The second point is that it doesn’t exhibit lens breathing. It’s not 100% suppressed, but at least, I felt it very natural. There’s a tremendous amount of stress when the angle of view that you’ve chosen changes each time you focusing on the objects. I think every cinematographer who shoots with short delivery times knows what I’m talking about. In particular, when you set the focus for important scene, that scene will be ruined if the lens shows lens breathing.
The third point is that there’s no optical axis shift. I was able to sense it immediately through the test shooting. It’s so important to have a lens that gives you a sense of security and reliability, so you can concentrate on shooting without stress or a sense of unease.
Differences with DSLR Lenses:Mechanical (External) aspects
As for the external elements, the fully manual triple lens rings for focus, zoom, and iris resolve the less-than-satisfactory aspects of DSLR lenses. With DSLR lenses, while the zoom mechanism uses a manual mechanism, the focus and iris are electrically controlled. And for the iris, it’s often the case that no iris ring is provided on the lens. The amazing thing about the MK Lens is that it manages to include this feature—commonly found on all cinema lenses—with this affordable price. It goes without saying that, because you can operate it intuitively, what you intended to capture can be reflected directly in the movie.
During the shooting, we shot a number of rack focusing scenes. The focus ring, with its rotation angle of 200 degrees, gave us sufficient control, and we had no trouble achieving fine-tuned focus. Experienced cinematographers know how hard it is to focus using DSLR lenses. Of course, the focus, zoom, and iris all use a 0.8M gear pitch, guaranteeing compatibility with third-party cinema accessories. Our whole shoot was done using follow focus. The iris ring can be operated seamlessly without clicks, and the fact that vibration and rotation noise don’t creep into the movie also makes it safe to use in shooting situations where doing numerous re-takes wouldn’t work.
Superb Optical Performance Inherited from previous FUJINON Cine Lenses
This movie is titled Edo Arts. The subjects are cultural properties whose traditions have continued since the Edo Period. The movie showcases highly detailed subjects, such as Edo shishū embroidery and the delicate cut glass known as Edo kiriko. The delineation performance of the MK Lens was spectacular. As you can see in the movie, the resolution enabled the texture and tint of the glass and embroidery to be reproduced accurately.
The scenes of Edo kiriko were shot in a dim room with only few light bulbs, but I was able to make great use of the T2.9 speed. We could make the room lighter with extra light source, but it is a big advantage to be able to capture dark part while keeping its atmosphere. In scenes where the amount of light is limited, T2.9 can be used over the entire zoom range, so even if you change the focal length, there’s no need to readjust the lighting. This contributed greatly to shortening the shooing time. The bokeh blur quality, which made full use of T2.9, is also beautiful and highlights the subject in a dramatically impressive way.
Bolstering the Lineup with MK50-135mm (Launch Summer 2017)
In addition to the MK18-55mm, the MK50-135mm will be added to the MK Lens series lineup in summer 2017. Combining the two will make it possible to cover the entire focal length range from 18 to 135 mm, thereby covering all the focal lengths you need for general cinema production. While we weren’t able to use them together for this shoot, the MK18-55mm and the MK50-135mm lenses share the same front diameter, filter diameter, and 0.8M gear pitch position. The two lenses are sure to complement each other superbly. It’s not something really conspicuous, but you can tell they’ve paid attention to even the tiniest details.
The Long-Awaited FUJINON MK Series
As I mentioned above, the FUJINON MK Series are lenses that we cinematographers have long been waiting for. When you look at this product, it’s clear that FUJINON has meticulously studied and addressed the issues facing cinematographers currently using DSLR lenses. The price is also reasonable, meaning that they’re not just cine lenses to rent, as in the past, they’re cine lenses that you yourself can own. Considering the time I spend shooting a movie, I estimate that I’d be able to recoup the cost of a set of these lenses within a year. What kind of lenses will FUJINON release in the future? I can’t wait to see the next leap forward from FUJINON Cine Lenses.
A production company for music and pictures
Marimo Records Co., Ltd. Yoshihiro Enatsu・Toshikazu Kaneto
In digital cinema, it’s the lens that determines how the shoot will turn out
XK Lens—the perfect PL-mount zoom lens. Up to now, there has never been a single lens like this that offers everything in terms of image quality, mobility, and operability.
These days, video productions are increasingly being shot exclusively with digital cinema cameras built around large-format image sensors. Just a decade ago, there was a vast gulf in quality between digital video and traditional cinema technology. But since then, video equipment has made huge strides. Today, it’s safe to say we’ve reached the point where almost anyone can create cinema-quality images with bokeh or a blurred, out-of-focus aesthetic. An increasing number of companies offer new camera models with high-resolution 4K specs that enable anyone to shoot video with a level of quality that would have been inconceivable in the old days.
What this means is that the quality of the lens you use is now more important than ever. In the era of digital cinema, the lens is the only component that still conveys analog information. So when I do my shoots, I pay the utmost attention to the lens. There are sound reasons why people often choose to shoot with a single-focus prime lens. It’s generally accepted that prime lenses deliver a degree of sharpness that can’t be reproduced with zoom lenses. Of course, on location you’ll often see zoom lenses being used, too. But if I’m shooting a 4K production, say, the thought is always in the back of my mind that, if I want to shoot with a total commitment to quality, I should use a prime lens. Also, unfortunately, when it comes to PL-mount zoom lenses, there are simply fewer options available. That’s why I usually end up using a set of several single-focus prime lenses.
The debut of the XK Lens—the perfect PL-mount zoom lens
I created a promo video for the lens, shooting at 4K resolution.
When I got the chance to shoot with an XK Lens, it completely flipped my conventional thinking upside down. This is just my personal take, but I really believe the XK Lens is the ultimate PL-mount zoom lens. It gives you all the advantages of conventional PL lenses, but at the same time it’s a zoom lens with outstanding mobility and operability. All in all, it’s pretty much perfect. By the way, we did a three-day shoot to produce a promo video for the XK Lens, using a model as the subject.
Still frames grabbed from a video I shot using the XK Lens. In terms of visual rendering capability, it performs as well as a single-focus PL lens.
From 20 mm to 120 mm—shooting with a single unit
First and foremost, the standout feature of this lens is its zoom focal length of 20 mm to 120 mm. It’s fair to say that this focal length range covers virtually all of the angles of view you’ll need in video production. Even though it’s an authentic PL-mount lens, you don’t have to swap out the lenses when you’re changing shots. When you’re shooting on location, it’s all about efficiency—being able to shoot lots of clips in a short time. Swapping out lenses—and then having to calibrate color rendering accordingly—is time-consuming and painstaking work. It’s a huge plus being able to finish all your shooting with a single lens. On this job, I was able to capture nearly all of the compositions I needed using this single unit—everything from full-length shots of the model, including some fairly long shots, to full-face close-up shots.
20 mm video. I was able to shoot video even up to this wide angle.
120 mm video. At the shortest focal length of 110 cm, I was able to capture quite short close-up shots.
The real power of T3.5
Conventionally, the T-numbers go down as the zoom range of a lens gets wider. But with the XK Lens, I can shoot with a consistent T3.5 aperture value throughout the 20 to 120 mm zoom range. This came as a real surprise. What’s more, the brightness that comes with a T3.5 value was also very helpful at our production locations. When it came to making uncompromising exposure adjustments,we had no issues at all. We were able to get stable, consistent color throughout the finished work, which is another benefit of using a single lens.
Angles of view at 20 mm and 120 mm settings. Zooming without having to reduce aperture values.
Absolutely beautiful rendering power—no problem even at 4K resolution
Many cinematographers feel that you should stick with prime lenses. Especially if you’re using a PL mount, it’s often taken for granted that you’ll be using prime lenses. I suppose the major reason for this is a concern for image quality, as I mentioned earlier. When a lens is equipped with a zoom function, more than a few people feel that image quality will be less than top-notch. In this regard, people often cite things like sharpness and perceived resolution. Then, with zoom lenses, people bring up the point of lens-specific distortions such as barrel or pin-cushion distortion. But in the case of the XK Lens, you have to admit that the image quality it delivers is outstanding—truly on a par with prime lenses. The XK Lens is an all-in-one unit that fully demonstrates the power of cine lenses when examined from all angles—be it skin texture or the ambience unique to cinema—and merits the name of Fujinon. With the present project, I was creating a work in 4K resolution. But I came to realize, as I was doing the editing, that this lens has such awesome rendering power that I found myself totally absorbed in its images. It faithfully reflected the aura radiated by the model’s skin, the texture of her clothing, and the shooting stage—it just created a fantastic atmosphere and mood.
Covers Super 35 mm sensors—quality unobtainable with still lenses
The visual beauty possible when combining the XK Lens with the Sony PXM-FS7 was beyond my imagination. Mounted via a mount adapter.
Combined with the Red Weapon. Shot at high speed (100 fps) using a 5K imager.
This time around, I used three cameras. I shot with a Sony PXW-FS7, a Red Epic Dragon, and a Red Weapon. Since the size of the XK’s image circle basically covers Super 35 mm, the 5K sensor size is the maximum size when using the Reds. With 5K, the two Reds support high-speed shooting at 100 fps, so this allowed me to add slow-motion effects. Compatibility with the FS7 was excellent. With that camera, I shot mainly DCI 4K at 60p. By the way, because the lens mount on the FS7 is an E-mount, I mounted the XK on the camera using a PL-mount to E-mount adapter. In this case, I had to attach the lens using a rod-based support system. Anyway, to sum up: it was great to shoot in a stress-free environment without the need to swap lenses during shooting. As for image quality, I have no complaints at all. I think I was able to bring a level of quality into my work that previously would have been impossible with traditional still lenses. In particular, the color rendering is unparalleled. Because its rendering capabilities go beyond surface appearances, I was able to capture images with amazing depth.
Solid operability based on superb body design
Operability is outstanding thanks to the high level of design that went into the body. Focus torque and angle are also at the highest level of usability.
The high degree of perfection in the design for the cinema lens housing was something I felt was of uniquely Fujinon quality. The industry-standard 0.8 mm gear pitch has been adopted for focus, zoom, and aperture. If you want, you can attach a third-party follow focus with any gear pitch. For this job, I took a chance and added some zoom movement into the shoot. I also used a follow focus to achieve zoom movement that could only be obtained manually. Also, I was impressed with the torque on the focus gearing. It was nice and solid, but easy to adjust. Along with the tight, firm torque, the focus can be adjusted over a wide 200-degree angle. This means the focus can be continually adjusted onto your target. All of the numbers engraved on the housing are extremely easy to read, and camera operators would say that the operability is outstanding. When you’re shooting on location, it’s really important that you can operate with total precision, without making mistakes. Since the advent of high-resolution video production, such as 4K, there’s been a lot of debate about focus. The XK is designed to make it possible to reliably achieve more delicate focusing and extremely precise aperture settings that would be impossible to achieve with a still lens. The housing is extremely robust, and in every component you can see the high level of lens design technology that Fujifilm has nurtured over the years.
Variety of styles possible with a removable drive unit
The XK features a removable drive unit. It’s a servo unit that uses an electric motor to move gears for zooming and so on. It works well when you’re shooting with a shoulder-mounted camera—for example, for one-man electronic news gathering (ENG). It can be attached and detached via four screws that attach directly to the lens body. This way, you can change your shooting style to suit the application. It’s perfect for all-round high-end cameras such as the aforementioned Sony FS7. The consistent T-numbers right across a 20 to 120 mmzoom range, surely expandsthe appeal of this lens beyond cinema to include documentaries and news. The fact that you can use a zoom and focus controller for broadcast applications opens up endless possibilities in on-air broadcast video and live on-location video.
Removable drive unit enables a variety of setups to match the shooting environment, such as ENG or cinema.
Incredibly cost-effective compared to rival products
The XK Lens is the perfect PL-mount zoom lens, but it’s been designed to be affordable. Standard PL-mount zoom lenses are generally expensive—even renting one can be beyond certain budgets. Having a low-price zoom lens that operates over a wide 20 to 120 mm range without a drop in T-numbers would be a great boon for people who shoot using still lenses. It’d be fantastic if the XK Lens was your first PL lens. After finishing three days of shooting, I came to feel that I couldn’t go back to not using it. The XK Lens represents a new standard in PL lenses—something that was simply unavailable before now. It’s going to be a breath of fresh air in the field of digital cinema.
A group of next-generation video specialists who routinely shoot 6K content
About Ellroy Inc.
Founded in 2012, Ellroy is a small group of highly skilled professionals based in Tokyo’s hip Nakameguro neighborhood. Ellroy is a visual creative firm with a portfolio that includes numerous high-profile TV commercials and videos. Ever since the company started, it has owned equipment capable of handling 4K shoots. What sets Ellroy apart is its ability to produce videos with an eye to the future—for example, it already offers professional services for 6K video shoots. The company has also established a movie production system with an integrated workflow that enables it to handle everything in-house, from start to finish—this includes planning, direction, shooting, lighting, editing, and computer graphics. Ellroy has a proven track record of results in a variety of genres, from advertising to film, drama, and TV programs.
Comparing image quality with that of prime lenses
Assessing the optical performance of cine zoom lenses
“What’s the ZK Series really like in terms of quality? If we want to go beyond the specs in a brochure, how can we independently assess the lens performance?” Such was the mindset of the Ellroy team members who carried out verification shoots to compare ZK Series lenses to single-focus PL-mount cine lenses with high optical performance. (PL-mount cine lenses are among the most commonly used lenses in the advertising industry.) Ellroy also used ZK Series lenses for actual ad shoots and performed a variety of different quality checks. Participating in the verification process was Ellroy’s shooting and editing team, which included a director, lighting and editing specialists, and a shooting assistant—all led by photographer Kazumi Takahashi, a 10-year veteran of the industry. Verification testing focused mainly on resolution and distortion. The team also performed a variety of shoots to investigate the lenses’ handling of color, an area where every lens displays unique characteristics.
Profile of Kazumi Takahashi,
About Kazumi Takahashi
After a stint at Azabu Photo Studio, where he picked up the basics of photography, Takahashi learned video shooting techniques under Mitsuaki Ishikawa, a videographer specializing in TV commercials. Now a prolific professional, Takahashi produces work in a variety of genres. As well as shooting TV commercials for cosmetics and automobiles, he shoots the opening title sequences for TV dramas and music videos for artist-performers. Takahashi has extensive knowledge of photographic equipment used in the industry, having done on-location trials with virtually every type of cine and still-photo lens. A man with limitless aspirations, he even performs his own color grading to ensure consistency in recorded images.
ZK Series lenses naturally offer excellent zoom functionality, but what really sets them apart is their full support for 4K shooting. Ellroy uses 4K cameras such as the Red Epic Dragon and Sony FS7, so shooting in 4K and 6K is part of the company’s daily workflow. They know from experience that, when it comes to achieving the best possible high-resolution shooting performance, the lens is just as important as the camera itself.
With the above in mind, Ellroy’s first step was to verify the resolution of the ZK lenses by testing them in comparison with a prime lens. When Ellroy staff were testing the Fujinon lenses, the benchmark for 4K performance was a TVL (horizontal resolution) of greater than 2000 as measured on relevant charts. With regard to T-numbers, for each lens two patterns were configured corresponding to a maximum aperture value and a T2.9 value. Testers also shot footage of a female model and compared various aspects of sharpness, including lines, text, skin, and hair.
First up in the test was a pattern corresponding to a T-number of 2.9. If you look at the center chart, the image resolution of the PL-mount prime lens is indistinguishable from that of the ZK Series lens. What’s more, when you consider the sharpness of the bold lines and text on the periphery of the chart (i.e., in the four corners), you could even say that the ZK Series is superior.
For the comparison using a maximum aperture value, it’s easier if you simply look at the chart photographs rather than read an explanation. Even a seasoned pro like Kazumi Takahashi—a photographer who has been staring through a viewfinder for over 10 years—was astonished at the level of resolution.
Initially, an image is composed by capturing through the lens wavelengths of light ranging from high to low—in other words, a wide range of frequencies. For example, if you are shooting a building, detailed workmanship and patterns are represented by high frequencies, while plain walls are conveyed in low frequencies; each has a role. To capture the highs and lows of these frequencies in a balanced manner and to meet the needs of the 4K era, development of the ZK Series involved accurately quantifying these frequencies and re-validating them from scratch. Plus, knowledge gained in the development of cine lenses—in a joint effort carried out with the ARRI Group—has been liberally applied. The result is an overwhelming level of sharpness across the entire zoom range, which is clearly evident even at a glance.
The next area investigated by Ellroy was distortion, a quality issue said to be inherent in zoom lenses. This comparison involved shooting a grid comprising a combination of simple, uniform vertical and horizontal lines. The test is based on the idea that any discrepancy in performance will be readily apparent, even at a glance. For the comparison group, they prepared a variety of lenses selected from a series of PL-mount prime lenses, beginning with a 14-mm wide-angle lens. Thorough verification tests were carried out by doing shoots using the ZK2.5 × 14 (14–35 mm) and ZK4.7 × 19 (19–90 mm) lenses with different combinations of focal length and T-numbers.
The results show that the ZK Series lenses performed very strongly in comparison to lenses that could be considered benchmark prime lenses. At the 14 mm wide-angle setting, where peripheral distortion is most likely to occur, slight distortion can be seen in all of the lenses. But as the focal length is gradually extended to 24 mm and 32 mm (ZK4.7 × 19), performance of the two different lenses was virtually identical to that of the prime lens. For the ZK Series zoom lenses, such a result is quite remarkable.
For a start, the number of lens elements that make up a zoom lens is extremely large compared to a single-focus prime lens. The developers explained that the ZK Series is composed of around 30 lens elements and that correcting distortion for all of these elements is extremely difficult. They noted that a large-diameter aspherical lens served to prevent distortion from occurring. Thanks to its long-term involvement in making broadcast TV lenses, Fujinon has accumulated a wealth of know-how in this area; for example, they successfully mounted the world’s first 30 mm or larger large-diameter aspherical lenses. Fujinon harnessed its technical capabilities and applied them to the development of cine lenses. They fine-tuned the composition ratio of low-dispersion glass and high-refractive index glass—two materials with different light dispersion properties. This intense dedication to the task resulted not only in low distortion, but also in high levels of contrast and 4K resolution.
There are many reasons for choosing a single-focus prime lens when shooting movies and advertisements. The main advantage is most likely that such lenses take interesting, nuanced pictures—images that please the eye in terms of color, contrast, blur quality, and so on. Could the ZK Series meet the needs of photographers in this respect? The color verification test involved live models and actual advertising shoots. The most important characteristic of color is how realistically it conveys the attractiveness of a subject. This is clearly evident in the skin tones and hair color of live models. And everything seemed to create an extremely natural impression, including the sharpness and accuracy of the contrast between bright and dark areas—for example, shadows of people or buildings—and a rounded, softly blurred quality in other areas.
As we saw above, ZK Series lenses incorporate about 30 lens elements. The Fujinon developers say that each lens element was fabricated after first reviewing the glass materials from which the element is made. The aim was, of course, to achieve the quality of a single-focus prime lens. Fujinon experimented with all sorts of combinations of glass materials, and further, with special coatings on filters, and the like. They continuously modified technologies for adjusting contrast and eliminating flare. Thanks to their painstaking efforts, the resulting image quality and finish is uniform across the four models of the ZK Series. The same goes for the HK Series, Fujinon’s lineup of high-end cine zoom lenses, and the Alura Series of cine lenses jointly developed with the ARRI Group. The ease of color grading is another area where these lenses will receive acclaim.
Fujinon's commitment to quality can be seen in the nine-blade aperture diaphragm the company introduced in the ZK Series. This design emerged from a wide range of simulations of aperture configurations. It captures light in a beautiful circular shape in all scenes, whether the aperture is at its widest or narrowest setting. And when it comes to crepuscular rays (“sun rays”), the nine-blade diaphragm draws out beautiful rays without excessive glare. Of course, full 4K support is possible with a compatible sensor size of Super 35 or greater. The ZK Series makes sense as a family of lenses that enable rich image expression that goes beyond the scope of existing zoom lenses.
Image quality and flexibility in the same class as prime lenses—a nice surprise!
In using the ZK Series, what I found most surprising was the high level of resolution. Even when comparing the center of the image, these lenses were in no way inferior to the single-focus cine lenses that were prepared for the verification tests—and this was clearly evident even up to the maximum angle of view. I therefore believe the ZK Series offers great advantages for shooting distant views of mountains and nature, say, or when shooting real estate and buildings with elaborate designs. And no matter what the scene, thanks to the superb sharpness, it was very easy to bring the camera into focus. This helps the shoot go smoothly, and it’s something I really appreciated. At this level of resolution, I can imagine that even editing tasks such as enlarging and trimming 4K images would be much easier.
When you’re shooting on location, time is of the essence. One of the major advantages of the ZK lenses is that you only need to tweak the zoom slightly when you want to adjust the angle of view. When we were on location for an actual ad shoot, I realized how totally efficient they are when used with equipment such as round mounting rails and cranes and the MōVI, a 3-axis gimbal stabilizer that’s being used more often these days. With round rails, once you’ve decided the focal length, it’s hard to change the setup; and when the sweet spot is midway between 24 mm and 32 mm, a zoom lens is a lifesaver. With the 3-axis gimbal stabilizer, adjusting the balance is quite tough, and a single ZK lens was a big help in enabling us to keep going without having to repeatedly swap single-focus prime lenses. And because the drive unit can be operated via remote control, you can freely attach and detach it. It’s nice to be able to use it flexibly as the situation demands. With the drive unit removed, the lens itself is about 500 g lighter. That made it much easier to work with, even when balancing it on the 3-axis gimbal stabilizer. In the past, we had to bring a zoom lens as well as a set of prime lenses to these kinds of shoots. But now, I can say without exaggerating that I’d gladly go with just the three ZK lenses.
The evolution of cine zoom lenses has been truly astounding. But if the technology is going to improve in the future, I’d like to see more focus on measures to counter distortion. Even now, I think that the correction is working well enough, but I’ve heard from our in-house editors that it’s still a bit of a hassle to correct distortion. It’d be ideal if post-processing could go as smoothly as shooting on location.
Cine zoom lenses = an assembly of prime lenses
The greatest value that ZK Series offers
The ZK Series has completely changed how we think about zoom lenses, thanks to the results of these verification tests over a wide range of parameters. Compared to prime lenses, these lenses provide such a high level of image quality—beginning with resolution—that it’s hard to say which type is better. Depending on the situation, the ZK Series is sometimes even superior. The ZK Series can also reduce the time and effort that would normally be involved in swapping prime lenses. In other words, they are high-performance lenses that provide the value of four or five prime lenses.
Commitment and passion with regard to creating images... Higher on-location efficiency... The ability to achieve both is a major bonus on the directing side. Using the ZK Series enables directors to satisfy a wide range of requirements—for example, when shooting time on location is limited, when you want to finish shooting before models lose their concentration, when you want to capture a creative image inspired by the location, and so on.
One more thing: Ellroy also experimented with shooting 6K HD, and they want to state for the record that there was almost no vignetting. Ellroy offers a 6K shooting and editing service, but there are still only a few cine lenses compatible with the size of the 6K sensor in the Red Epic Dragon camera, and the image circle remains a bit of a headache. In fact, vignetting could be seen somewhat on the periphery, even in the prime lenses used for the comparison. Being able to eliminate vignetting alone makes the ZK Series a worthy new product. It’s no exaggeration to say that the ZK Series has the potential to radically change how shooting is done in the 4K era.
|SONY Super 35mm/APS-C sensor compatible E-mount camera|
|0.85m/2ft 9in（with macro function 0.38m/1ft 2.9in）|
|18mm 924mm × 520mm
55mm 291mm × 164mm
|18mm 69.2°× 42.4°
55mm 25.5°× 14.5°
|Ф87mm × 206.3mm|
|super 35mm PL-mount cameras|
|20mm 1109 × 624
120mm 182 × 102
|20mm 63°41' × 38°30'
120mm 11°49' × 6°40'
|Ф114 × 239mm|
|2.9kg With drive unit /
2.4kg Without drive unit
|35mm PL-mount cameras||35mm PL-mount cameras||35mm PL-mount cameras||35mm PL-mount cameras|
|2.5 ×||4.7 ×||3.5 ×||12 ×|
|0.6 / 2ft||0.85 / 2ft 9in||1.2 / 3ft 11in||1.2 / 3ft 11in|
|14mm 701 × 394mm
35mm 275 × 155mm
|19mm 917 × 516mm
90mm 193 × 109mm
|85mm 274 × 154mm
300mm 79 × 44mm
|25mm 937 × 527mm
300mm 77 × 43mm
|14mm 88°52' × 57°45'
35mm 42°49' × 24°53'
|19mm 71°41' × 44°14'
90mm 17°20' × 9°48'
|85mm 18°21' × 10°23'
300mm 5°14' × 2°57'
|25mm 57°32' × 34°19'
300mm 5°14' × 2°57'
|Ф114 × 231mm||Ф114 × 226mm||Ф114 × 249mm||Ф136 × 401mm|
|2.9kg With drive unit
2.4kg Without drive unit
|2.8kg With drive unit
2.3kg Without drive unit
|3.1kg With drive unit
2.6kg Without drive unit
|8.4kg Without drive unit|
|35mm PL-mount cameras||35mm PL-mount cameras||35mm PL-mount cameras||35mm PL-mount cameras|
|3.1 ×||4.7 ×||7.5 ×||5.3 ×|
|0.71 / 2ft 4in||0.82 / 2ft 8in||1.24 / 4ft 1in||2 / 6ft 7 in|
|14.5mm 693 × 390mm
45mm 215 × 121mm
|18mm 656 × 369mm
85mm 139 × 78mm
|24mm 924 × 520mm
180mm 119 × 67mm
|75mm 580 × 326mm
400mm 113 × 64mm
|14.5mm 79°13' × 49°56'
45mm 29°52' × 17°04'
|18mm 67°23' × 41°07'
85mm 16°04' × 9°05'
|24mm 53°08' × 31°25'
45mm 7°38' × 4°18'
|75mm 18°11' × 10°17'
400mm 3°26' × 1°56'
|Ф136 × 310mm||Ф136 × 352mm||Ф136 × 405mm||Ф136 × 444mm|
By bringing together the optical performance that Fujifilm takes pride in, we have developed PL-mount lenses compatible with Super 35 mm sensors. We have achieved this high level of optical performance, which surpasses 4K, by combining a special optical glass (ED glass, specifically, fluorite) and a large-diameter aspherical lens to keep various aberrations under control. While controlling distortion and image angle variations during focusing, we have significantly improved resolution up to the edges of the screen. In addition, adopting a three-group zoom mechanism makes it possible to control variations in optical performance when zooming, demonstrating high optical performance over the entire zoom range—from wide angle to telephoto. Further, we have adopted a newly developed HT-EBC coating. It achieves even higher light transmittance and lower reflectance compared to conventional EBC coatings, and improves red and blue transmittance. It enables 4K video expression with rich color fidelity.
For Fujinon cine lenses, to improve image delineation of the more natural out-of-focus areas, we ran computer simulations to optimize the number and shape of the diaphragm blades, and we developed a nine-blade aperture diaphragm. The speculars produced when shooting point sources of light are more rounded, making it possible to render a beautiful natural blur.
To suit the user’s preferences, Fujinon cine lenses have adopted a mechanical design that emphasizes ease of manual operation.
* When operating the lens, be sure to use a lens supporter (sold separately).
* If the total weight of the lens unit is more than 4.0 kg, use a lens supporter (sold separately) and mount the unit on the included support frame.
GOOD DESIGN AWARD 2012
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Optical Device and Electronic Imaging Division, Fujifilm Corporation