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  • XK NEW FUJINON CINE LENSES

    Cinema Zoom Lenz XK6x20 makes its dramatic debut.

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information

2017.06.01
MK50-135mm T2.9 announced
2017.02.22
MK18-55mm T2.9 announced
2016.04.16
Participation in NAB
2015.11.18
Participation in InterBEE
2015.09.11
Participation in IBC
2015.08.26
Participation in BIRTV (Beijing International Radio, TV & Film Exhibition)
2015.08.21
Special cine lens website now up and running

Special

#05
05
  • A New Era Captured by the FUJINON MK Series

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    A New Era Captured by the FUJINON MK Series
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    A small shooting crew can be made up of two cameramen and two assistants due to the high mobility of the MK Series.

    In the last article, I wrote about the optical performance and body design of the MK Series of Cine lenses released by Fujifilm. This time, I'd like to talk about the usability and creativity of these products during actual shooting.
    [Logo]Marimo Records Co., Ltd.

    A production company for music and pictures
    Marimo Records Co., Ltd. Yoshihiro Enatsu・Toshikazu Kaneto

    Aiming to shoot the dark green season at the end of May, I chose the location of "Tofukuji," said to be the oldest temple in Kyoto. First of all, I'd like to show off the shots I took.
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    The first thing I'd like to talk about in the introduction is the absolute wonderfulness of the FUJINON MK Series. While I don't mean to string together flowery words, these lenses showed me a level of performance that almost makes me never want to return to the filming of before using the PL mount. In addition to the perfectly beautiful image quality, the high level of mobility made possible by the compact body is truly the gem of FUJINON's technology. These really do feel like a new era of cinema lenses.
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    The depth and beautiful color expression are exactly the image of FUJINON, that has continued to make cinema lenses over the years.

    I used the Sony PXW-FS7 for shooting.

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    I tried shooting the FUJINON MK Series with the PXW-FS7, using the E mount natively.

    For this shoot, I used the already released MK18-55mm T2.9 as well as the MK50-135mm T2.9, scheduled for release in mid-July. Using two Sony PXW-FS7 cameras, we used the ATOMOS SHOGUN INFERNO for monitoring and 4K backup recording. Footage was shot at 60p in DCI 4K, aiming for high-speed work on a 24p timeline.

    I think that the FS7 is the best camera to use with the E Mount FUJINON MK Series. It is capable of recording at DCI 4K/60p with 10-bit intra-frame rendering. We filmed using the S-Log3 gamma with the S-Gamut3.cine color space assuming post production for our digital cinema workflow.

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    The combination with the Sony α6500 is also amazing. The mobility is absolutely outstanding.

    Of course, being an E Mount, the FUJINON MK Series can also be attached to the mirrorless SLT α Series. While the FUJINON MK Series may not fit full-size sensors such as those on the α7R II due to the Super 35mm image circle, they are perfect for the crop modes on the α6500 and α7R II. In particular, the combination with the α6500 can be said to be the "world's smallest" cinema lens setup. Moreover, if shot at 4K / 24p, the cinema quality of this setup is comparable to other high-end cameras.

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    Shot on the α6500 with grading. A texture unimaginable for 8-bit.

    Overwhelming image quality and color thanks to FUJINON technology

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    Quality comparable to single focus / prime lenses

    As I mentioned it in the previous article, I believe the FUJINON MK Series is "changing the era." There are four reasons. The first is the high optical performance difficult to achieve with a still lens, and the mechanical mechanisms easy to operate in the field. Both standard for a cinema lens. The second reason is the ability to capture image quality that closes in on the quality of a single focus lens, despite being a zoom lens. The third reason is the surprisingly compact and lightweight construction. And finally, the surprising price. Although I already wrote many things about the optical performance and mechanisms of the lenses, I truly want you to know about the splendor of the image quality that can be obtained with the FUJINON MK Series.

    First I'd like everyone to see a clip of the footage shot in S-Log3/S-Gamut3.cine. You can immediately see that the open aperture of T2.9 of the MK 18-55mm is fully utilizing the S-Log3 specs, boasting a whopping 14 stops. The light entering through the window and the sense of depth in the dark Japanese-style room are depicted with unspeakable beauty in 4K. Realizing the high capabilities of the lens, this footage can even be said to be one-cut exhausting the advantages of grading.

    The filmed S-Log3/S-Gamut3.cine footage was stored for the time being using the official Sony "SLog3SGamut3.CineToLC-709TypeA.cube" LUT in a REC.709 color space, with color editing applied using DPX as an intermediate codec. A rough draft of editing was done using Adobe Premier Pro, while After Effects was used for further color correction and composition edits.

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    The dynamic range of 14 stops can be clearly seen. Captured using the MK 18-55mm at T2.9.

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    Sony's official LUT was applied and further noise processing performed to create a reference image

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    Final image after grading. Editing was performed in order to show off the depth of the footage.

    I'd like you to pay special attention to the gradation of the skin tone in the footage shot using the MK 50-135mm outdoors. Despite being a bust shot, the features of the face are beautifully conveyed, as if taking the texture of the skin into your hands. Even the textures of the kimono costume are wonderfully captured. Although the focus during this scene was moved from the maple leaf in front of the camera to the model's face, the FUJINON MK Series transitioned beautifully without breathing.

    Although there are other scenes in which the focus moves in this work, there is no change of the angle of view which truly makes me realize that the video is created by a cinema lens. The torque of the focus ring is also exquisite. This area seems to have been succeeded firmly from the know-how and experience of FUJINON, creating cinema lenses over the years.

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    One cut shot outdoors using S-Log3/S-Gamut3.cine with no light

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    Final image after grading. The colors are absolutely stunning

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    Focus without breathing is truly the technology of cinema lenses

    High optical performance enables "Zooming"

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    With a Follow Focus system attached to the zoom ring

    For this project, we took up the challenge of a composition taking advantage of "zoom." The FUJINON MK Series achieves "control of focus movement during zooming" and "control of optical axis misalignment during zooming" thanks to its high optical performance. Due to that, shooting scenes while utilizing the zoom function are possible. Since aperture, zoom, and focus rings on the FUJINON MK Series are all mounted with a 0.8M pitch, I attached a Follow Focus system to the zoom ring.

    Although zooming isn't performed much in conventional cinema shooting, the high optical performance with this zoom lens really expands the possible shooting range. Because zooming is possible throughout the entire spectrum without dropping the T stop for both the MK 18-55mm and MK 50-135mm, being able to leave it up to your senses and create works that utilize zoom is a really attractive point.

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    When video expressions using zoom become possible, the possibilities of expression methods expand

    Perfect exposure with a seamless iris

    Thanks to the iris also being able to be moved seamlessly, very fine exposure settings can be made. Normally, since the aperture is adjusted on still lenses in 1/3 stops, delicate adjustments end up being difficult to make. In particular, deciding the exposure is the most important part when shooting in Log. For S-Log3/S-Gamut3.cine, since it is possible to get an image with the largest gradation scale when 18% gray matches with 41% luminance, we made sure to check wave forms over and over using the SHOGUN and external monitor, carefully deciding exposures with the cameraman for each cut.

    As a director, I made sure not to focus the exposure too much on the face. Because I wanted to express the beautiful light pouring down onto Tofukuji, lighting was performed to show off the intersection of light and shadows at each place. During grading, I put a focus on the black colors, editing the image for color and brightness so as to create depth. I really felt that this post-production work flow was fitting of the FUJINON MK Series.

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    Pre-grading cut. 1/16 ND shot at T3.5.

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    In order to show off the abyss-like appearance of Tofukuji's Tsuten-kyo Bridge, grading while remaining conscious of the depth was performed

    Ultimate Mobility

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    Cut of After Effects during editing

    This shoot was completed with just a small team of four people - two cameramen and two assistants. Making use of jib cranes and rails as special equipment, the shoot progressed without any troubles. Being able to have all of the focal lengths we wanted to shoot with using only two lenses is truly a testament to the ultimate mobility of the FUJINON MK Series. With almost the same size as a bottle of water and a body that weighs less than a kilogram, the lens enables an unbelievably efficient shooting style. Film-makers should have no problem shooting handheld with the FUJINON MK Series.

    If PL Mount, single focus cinema lenses were to be used for this shoot, the scale of the project, including the cost aspect, difficulty of operation, size of special equipment used, and number of staff, would have grown quite substantially. In order to obtain the focal length of 18mm - 135mm, six to eight single focus lenses would have to be carried at all times. If equivalent image quality can be obtained, I believe you can see how the new era of cinema style is made possible by the FUJINON MK Series. It might be possible to say that these are the perfect cinema zoom lenses, showing us the exact moment when a new shooting workflow is born.

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    Thanks to the light weight of the lenses, you can carry additional special equipment. Operation is simple and precise.

    Beginning the new era of owning an affordable cinema lens

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    The MK series tightly packs in FUJINON's technology honed from making cinema lenses over the years. With a manufacturer's retail price of 420,000 yen for the MK 18-55mm T2.9 and 450,000 yen for the MK 50-135mm T2.9, the two lenses as a set don't even hit 1,000,000 yen. With viewing angles of 18mm to 135mm useable at T2.9 throughout and FUJINON class image quality, I believe you can understand how unbelievable this price is. Although rental was commonplace due to the countless PL Mount cinema zoom lenses each costing 10x these lenses, at last the time has come to own a cinema lens. It's really a dream come true.

  • Debut of MK lens Series, achieving superlative optical performance with ultra-compact & lightweight body and excellent cost performance

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    The MK lens series creates a new digital cinema world
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    MK lenses will change the world of digital cinema. Once you use them you’ll notice their quality.

    There are four reasons why I strongly feel the MK series of lenses opens a door to a new era. The first one is that they bear optical performance and mechanical structure that satisfies the demanding cinema standard. The second one is that they have superior image quality to many prime lenses. The third one is how compact and lightweight they are. The forth is their unbelievable price.
    Firstly I would like to mention "optical performance and mechanical structure that satisfies the demanding cinema standard".
    [Logo]Marimo Records Co., Ltd.

    A production company for music and pictures
    Marimo Records Co., Ltd. Yoshihiro Enatsu・Toshikazu Kaneto

    see in the video

    FUJINON quality with T2.9 throughout the entire zoom range

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    Achieving T2.9 and superb optical performance throughout the entire zoom range, E mount MK series lenses are the next generation cinema zooms

    One of the biggest differences between cinema and still lenses is the seamless iris. Most still lenses can only have their aperture value changed in 1/3 or 1/2 steps. The iris in cinema lenses can be changed linearly, giving maximum control to get the proper exposure. The MK series of lenses achieve T2.9 through the entire zoom range and their performance is superb - even at the widest aperture.


    Perfect zooming with no focus or optical axis shift

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    The MK lenses have back focus adjustment functions to ensure there is no focus shift while zooming in or out.

    Decades of "FUJINON" technology is condensed into the MK series. Zoom lenses are much more difficult to design than primes - their performance has to be guaranteed at all zoom positions.

    When using zoom lenses for still photography, the point of focus will shift while zooming, making it necessary to adjust the focus every time you change the zoom position. When it comes to shooting a movie, not only is it a requirement to focus check every single time the angle of view is changed, but scenes with any kind of zooming are unusable. This makes it a big burden, especially for documentary shooters.

    The MK lenses are designed to suppress focus shift while zooming. Once a focus position is set, it will not shift even when the zoom position is changed. If you adjust the focus at the telephoto end, which is easier to see, you can then change the angle of view as you want and know that your focus point will not change at all.

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    The MK lenses suppress optical axis shift. The center position will not move while zooming.

    Optical axis shift is literary the “shift” of the center position while zooming from wide to telephoto. The MK lenses are designed to suppress this completely, ensuring that no re-framing is required after the angle of view is changed, and movies with zoom scenes do not show any imperfections in framing.

    Suppressed lens breathing

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    Minimum lens breathing allows for smooth focus control

    Lens breathing, changes of the angle of view while focusing, occurs with almost all still lenses. While shooting a movie, the focus is often changed during a scene so breathing must be suppressed in order not to ruin it. Despite being zooms, the MK lenses suppress lens breathing incredibly well. This is due to the accurate lens design.

    Superb cinema standard optical performance, condensed into a compact E mount body

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    This is the comparison with plastic bottle. It's very compact, so lens support is often not necessary.

    Despite weighing less than 1kg each and being very compact, the mechanical design of the MK series is completely to cinema specification, inherited from FUJINON’s PL mount HK, ZK and XK top cine lenses. By supporting the E mount, the MK lenses combine portability with high image quality, yet the operability is totally different from still lenses.

    200° focus rotation angle

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    Smooth and accurate focus is achievable thanks to a 200° focus rotation angle

    It is very easy to focus on subjects thanks to a 200° focus rotation angle. In most still lenses, the focus position angle is quite narrow making it is hard to focus on fine details. That's why some people rely on auto focus. The MK lenses are not only very accurate, but also have a great torque feeling.

    0.8M standardized gear pitch

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    0.8 M is standard gear pitch for the cinema world, allowing you to easily attach accessories such as follow-focus systems.

    The gear pitch for the iris, zoom, and focus rings are all 0.8M, allowing use of third-party cinema accessories. For still lenses, you often need to prepare other gear rings to attach follow-focus systems. Adding an additional gear ring causes focus operation to not be perfect since there is some clearance between the follow-focus and the ring. With the MK lenses, you're able to use cinema standard systems without any stress.

    Open the new digital cinema world

    Despite the appearance of cinema lens and still lens being similar, their design concepts are completely different. There are so many additional performance functions needed in real movie shooting location. In such an environment, the MK lens series will open up a new digital cinema world.


  • Debut of MK lens Series, achieving superlative optical performance with ultra-compact & lightweight body and excellent cost performance

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    Thorough verification

    MK lens series achieves ultra-compact & lightweight body and excellent cost performance. Cinematographer tells us the story of what makes MK lens series attractive.
    MK lens series has been added to FUJINON Cine Lens lineup. MK lens series inherit its optical performance and resolve the issues of conventional cinema & DSLR lenses by achieving ultra-compact and light weight body with excellent cost performance. This time, cinematographer, Maejima Kazuo, who often do shoots with DSLR lenses, tell us the story of what makes MK lens series attractive through the image movie shooting.
    レポートの流れ
    • MOVIE
    • The present situation of Cinema Lenses
    • Impressions of On-Site Usability
    • Review

    Cinematographer Maejima Kazuo

    see in the video

    The present situation of Cinema Lenses

    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

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    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.


    Impressions of On-Site Usability

    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.

    • [Photo]Suppress focus shifts while zooming
    • [Photo]Suppress lens breathing
    • [Photo]Suppress optical axis shifts

    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.

    • [Photo]Three independently operated lens rings with 0.8M gear pitch
    • [Photo]Easy to use follow-focus with 200 degree focus rotation angle
    • [Photo]Seamless iris prevent vibration and noise

    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.

    • [Photo]It reproduce detailed pattern of Edo kiriko
    • [Photo]We can feel the texture of Edo shishū
    • [Photo]T2.9 speed is a big advantage in a dim room

    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.

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    Review Conclusions

    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.

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  • Verifying the Specs The Perfect PL Zoom Lens Born Out of Unprecedented Innovation

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    Why XK series is believed as “The Perfect Zoom Lens” by the film director who use cutting-edge video technology.
    XK series which recently joined the line-up of FUJINON 4K CINELENS is the product that delivers the same level of quality images as ZK and HK series do while it also has the outstanding mobility and operability.
    Tokyo video production group Marimo Records carried out a thorough hands-on investigation.
    Flow of report
    • MOVIE
    • The present situation of Cinema Lenses
    • Impressions of On-Site Usability
    • Review
    [Logo]Marimo Records Co., Ltd.

    A production company for music and pictures
    Marimo Records Co., Ltd. Yoshihiro Enatsu・Toshikazu Kaneto

    see in the video

    The present situation of Cinema Lenses

    In digital cinema, it’s the lens that determines how the shoot will turn out

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      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

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    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.

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    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.

    Impressions of On-Site Usability

    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.

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      20 mm video. I was able to shoot video even up to this wide angle.

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      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.

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    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

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    The XK Lens achieves Fujinon cinema-quality images.

    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

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      The visual beauty possible when combining the XK Lens with the Sony PXM-FS7 was beyond my imagination. Mounted via a mount adapter.

    • [Photo]

      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

    [Photo]

    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.

    • [Photo]

      Removable drive unit enables a variety of setups to match the shooting environment, such as ENG or cinema.

    Review Conclusions

    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.

  • Verifying the Specs Comparing image quality with that of prime lenses Assessing the optical performance of cine zoom lenses

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    Thorough verification

    Will the ZK Series Revolutionize Advertising Photography?
    A Cutting-Edge Video Production Firm Takes an In-Depth Look
    When Fujinon developed the ZK Series, the goal was to create a zoom lens with optical performance on a par with that of a prime lens. To see whether this ambitious goal was achieved, Tokyo video production group Ellroy Inc. carried out a thorough hands-on investigation. The pros at Ellroy use single-focus prime lenses on a daily basis and have extensive experience of shooting video and still images at 4K and even 6K resolution. They looked to tackle a common perception among creators in the advertising industry: the idea that zoom lenses, for all their undoubted functionality, can fall short when it comes to image quality. Would the ZK Series be able to flip that notion on its head?
    Flow of report
    • Verifying the Specs
    • Comparison Tests to Verify Image Quality
    • Impressions of On-Site Usability
    • Review Conclusions
    • MOVIE
    [Logo]ellroy

    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.

    Verifying the Specs

    Comparing image quality with that of prime lenses
    Assessing the optical performance of cine zoom lenses

    [Photo]

    “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.

    [Photo]

    Photographer
    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.

    Comparison Tests to Verify Image Quality
    Point1 Resolution Sharpness obvious at a glance even at maximum aperture across the entire zoom range
    • [Photo]

      see in the quality test video

    • [Photo]

    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.

    • [Photo]FUJINON(14-35mm / F2.9)
    • [Photo]FUJINON(19-90mm / F2.9)
    • [Photo]Other single focus Cinelens(F2.9)
    • [Photo]Other single focus Cinelens(F2)

    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.

    [Photo]

    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.

    Point2 Distortion Blur correction performance that goes beyond existing zoom lenses, approaching prime lenses
    • [Photo]

      see in the quality test video

    • [Photo]

    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.

    • [Photo]FUJINON(14-35mm / F8)
    • [Photo]FUJINON(19-90mm / F8)
    • [Photo]Other single focus Cinelens(F8)
    • [Photo]FUJINON(14-35mm / F8)
    • [Photo]FUJINON(19-90mm / F8)
    • [Photo]Other single focus Cinelens(F8)

    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.

    Point3 Color Reproducing natural color close to what the photographer sees
    • [Photo]

      see in the quality test video

    • [Photo]

    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.

    • [Photo]FUJINON(14-35mm / F4)
    • [Photo]FUJINON(19-90mm / F4)
    • [Photo]FUJINON(85-300 / F4)

    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.

    Impressions of On-Site Usability

    Image quality and flexibility in the same class as prime lenses—a nice surprise!

    [Photo]

    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.

    [Photo]

    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.

    Review Conclusions

    Cine zoom lenses = an assembly of prime lenses
    The greatest value that ZK Series offers

    [Photo]

    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.

    see in the video

    [Photo]

    ZK Quality Test / FUJIFILM
    quality test video

  • Contact us about the review

Product

  • Specification
  • Technology
  • [Photo]
    MK MK Series for E-mount
    These new lenses produce the high performance and high-quality images demanded by newly developing production markets such as movie distribution services, independent film productions, and wedding videos.

    Model name

    MK18-55mm T2.9MK50-135mm T2.9
    • Product image

      XK6×20MK50-135mm T2.9
    • Compatible cameras

      SONY Super 35mm/APS-C sensor compatible E-mount camera SONY Super 35mm/APS-C sensor compatible E-mount camera
    • Focal length

      18-55mm 50-135mm
    • Zoom ratio

      3.0 × 2.7 ×
    • T-No.

      2.9 2.9
    • Number of diaphragm blades

      9 9
    • Minimum Object Distance(M.O.D.)from image plane

      0.85m/2ft 9in(with macro function 0.38m/1ft 2.9in) 1.2m/3ft 11in(with macro function 0.85m/2ft 9in)
    • Object size(M.O.D.)at 16:9 aspect ratio*

      18mm 924mm × 520mm
      55mm 291mm × 164mm
      50mm 534mm × 300mm
      135mm 196mm × 110mm
    • Angle of view at 16:9 aspect ratio*

      18mm  69.2°× 42.4°
      55mm  25.5°× 14.5°
      50mm  27.9° ×15.9°
      135mm  10.5° ×5.9°
    • Focus operation angle

      200° 200°
    • Zoom operation angle

      90° 90°
    • Filter diameter

      82mm 82mm
    • Filter diameter

      85mm 85mm
    • Size (approximate)

      Ф87mm × 206.3mm Ф87mm × 206.3mm
    • Weight (approximate)

      980g 980g

    * Sensor size: 24.84 × 13.97 mm

  • [Photo]
    XK 4K Premier Cabrio Series
    Offers high optical performance compatible with 4K cameras and covers a wide range of focal length from 20mm to 120mm. It also realizes T3.5 brightness in the entire zoom range. There is no T drop and it offers comfortable operation. Various scenes can be shot with this single lens.

    Model name

    • XK6×20
    • Product image

      XK6×20
    • Compatible cameras

      super 35mm PL-mount cameras
    • Focal length

      20-120mm
    • Zoom ratio

      6 ×
    • T-No.

      T3.5
    • Number of diaphragm blades

      9
    • Minimum Object Distance(M.O.D.)from image plane

      1.1/3ft 7in
    • Object size(M.O.D.)at 16:9 aspect ratio*

      20mm 1109 × 624
      120mm 182 × 102
    • Angle of view at 16:9 aspect ratio*

      20mm 63°41' × 38°30'
      120mm 11°49' × 6°40'
    • Focus operation angle

      200°
    • Zoom operation angle

      90°
    • Size (approximate)

      Ф114 × 239mm
    • Weight (approximate)

      2.9kg With drive unit /
      2.4kg Without drive unit

    * Sensor size: 24.84 × 13.97 mm

  • [Photo]
    ZK 4K Premier Cabrio Series
    The lineup features lightweight models and high-power zoom models. By merging optical design technology refined over many years with unique servo motor characteristics, ZK Series lenses go beyond the boundaries of established operating areas. From traditional film production to the broadcasting field, these lenses expand the possibilities of video production.

    Model name

    • ZK2.5×14
    • ZK4.7×19
    • ZK3.5×85
    • ZK12×25
    • Product image

      ZK2.5×14 K4.7×19 ZK3.5×85 ZK12×25
    • Compatible cameras

      35mm PL-mount cameras 35mm PL-mount cameras 35mm PL-mount cameras 35mm PL-mount cameras
    • Focal length

      14-35mm 19-90mm 85-300mm 25-300mm
    • Zoom ratio

      2.5 × 4.7 × 3.5 × 12 ×
    • T-No.

      T2.9 T2.9 T2.9(85-218mm)
      T4.0(300mm)
      T3.5(25-273mm)
      T3.85(300mm)
    • Number of diaphragm blades

      9 9 9 9
    • Minimum Object Distance(M.O.D.)from image plane

      0.6 / 2ft 0.85 / 2ft 9in 1.2 / 3ft 11in 1.2 / 3ft 11in
    • Object size(M.O.D.)at 16:9 aspect ratio*

      14mm 701 × 394mm
      35mm 275 × 155mm
      19mm 917 × 516mm
      90mm 193 × 109mm
      85mm 274 × 154mm
      300mm 79 × 44mm
      25mm 937 × 527mm
      300mm 77 × 43mm
    • Angle of view at 16:9 aspect ratio*

      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'
    • Focus operation angle

      200° 200° 200° 280°
    • Zoom operation angle

      120° 120° 120° 120°
    • Size (approximate)

      Ф114 × 231mm Ф114 × 226mm Ф114 × 249mm Ф136 × 401mm
    • Weight (approximate)

      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

    * Sensor size: 27.45 × 15.44 mm

  • [Photo]
    HK 4K Plus Premier Series
    The HK Series of Fujinon cine lenses are our flagship models, boasting unparalleled high resolution. The lineup of four zoom lens covers the range from 14.5 mm wide-angle to 400 mm super-telephoto. Incorporating optical design, fabrication techniques, and assembly technologies nurtured over the years, these models represent the pinnacle of zoom lens design.

    Model name

    • ZK2.5×14
    • K4.7×19
    • HK7.5×24
    • HK5.3×75
    • Product image

      ZK2.5×14 K4.7×19 HK7.5×24 HK5.3×75
    • Compatible cameras

      35mm PL-mount cameras 35mm PL-mount cameras 35mm PL-mount cameras 35mm PL-mount cameras
    • Focal length

      14.5−45mm 18−85mm 24−180mm 75−400mm
    • Zoom ratio

      3.1 × 4.7 × 7.5 × 5.3 ×
    • T-No.

      T2.0 T2.0 T2.6 T2.8(75-290mm)
      T3.8(400mm)
    • Number of diaphragm blades

      9 9 9 9
    • Minimum Object Distance(M.O.D.)from image plane

      0.71 / 2ft 4in 0.82 / 2ft 8in 1.24 / 4ft 1in 2 / 6ft 7 in
    • Object size(M.O.D.)at 16:9 aspect ratio*

      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
    • Angle of view at 16:9 aspect ratio*

      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'
    • Focus operation angle

      280° 280° 280° 280°
    • Zoom operation angle

      160° 160° 160° 160°
    • Size (approximate)

      Ф136 × 310mm Ф136 × 352mm Ф136 × 405mm Ф136 × 444mm
    • Weight (approximate)

      6.5kg 7.0kg 8.9kg 9.1kg

    * Sensor size: 24.0 × 13.5mm

Optical technology to achieve 4K optical performance

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.

[Graph]

Adoption of nine-blade aperture diaphragm

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.

[Photo]

Mechanical design that gives careful consideration to ease of operation

To suit the user’s preferences, Fujinon cine lenses have adopted a mechanical design that emphasizes ease of manual operation.

  • Smooth movement with no torque variation and no sticking when turning the zooming/focusing ring enables precise operation.
  • Uniform 0.8 mm gear pitch for focus, zoom, and iris. The front lens diameter is also uniform across the series, thus ensuring compatibility with standard lens operating accessories, such as existing matte boxes, follow-focus systems, etc.
  • Universal design with easily readable original fonts for easy operation on location.
  • Focus scale can be selected from U.S. customary units (feet) or metric units (meters) to suit the user’s needs; standard is U.S. customary units notation.
[Photo]

HKSeries、ZK12x25

[Photo]
  • Front lens diameter 136mm
  • Focus ring rotation angle 280°
  • Gear pitches 0.8mm

* When operating the lens, be sure to use a lens supporter (sold separately).

ZK2.5x14、ZK4.7x19、ZK3.5x85

[Photo]
  • Front lens diameter 114mm (When lens hood attached, 127 mm)
  • Focus ring rotation angle 200°
  • Gear pitches 0.8mm

* 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.

  • Specification
  • Technology

Award

  • [Logo]DESIGN AWARD 2015
  • [Logo]reddot award 2015
  • [Logo]EMMY AWARD 2009/2005/1996

GOOD DESIGN AWARD 2012

Contact

Requests for product documentation and inquiries will be handled by Fujifilm Corporation.
Please feel free to contact us via the Web (contact form) or by telephone.

Contact us via the Web

Contact us by telephone or email

Optical Device and Electronic Imaging Division, Fujifilm Corporation

USA, Canada, Latin America
(except for Argentina, Brazil and Chile)
+1 -973-686-2769
Argentina, Brazil and Chile
+55 (11) 5091-4022

EMEA
tel +49-211-5089-8916
email cine_sales@fujifilm.eu
Asia Pacific
+65 6380-5318

Hong Kong, Taiwan
+852-3796-2159
Oceania
+61 2 9466 2963

Catalog

  • [Photo]Catalog

    MK lens Catalog

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  • [Photo]Catalog

    XK lens Catalog

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  • [Photo]Catalog

    Cine Lens Catalog

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  • [Photo]Catalog

    TV & Cine Lens Catalog

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