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Few would argue that the DSLR revolution of a few years ago marked a huge step forward in digital filmmaking. In addition to ushering in a new wave of cinematic imagery, it also inspired a new generation of filmmakers to redefine what was possible within a limited budget. Nowhere has this change been more profoundly experienced than in the world of ministry filmmaking, where the affordability of stills cameras and lenses opened new realms of creative storytelling possibilities.
One side effect of the rapid transition from camcorders to DSLR-style cameras was that many video producers began navigating the world of interchangeable lenses for the first time. This required filmmakers to accommodate the significant limitations of lenses designed exclusively for taking stills images. These lenses weren't engineered for the rigors of documentary-style cinematography, necessitating a number of different compromises and workarounds.
Fortunately, leading lens manufacturers have begun to address the need for cinema-quality glass designed specifically for the owner/operator market. With the announcement of the new MK line of Cine Lenses, Fujifilm is positioning itself to make a significant splash into this developing market. After spending a couple of days reviewing the MK18-55 T2.9 lens in various environments and scenarios we were more than a little impressed with the results.
The big picture
After spending a few minutes with the Fujinon MK18-55 T2.9 Cine Lens it's immediately clear that extensive research and development has gone into its design and engineering. From a handling perspective, everything about it screams professional. The lens is built like a tank while still weighing only a little over two pounds—a very pleasant surprise for a dedicated cine lens like this.
On the feature side, the MK18-55 T2.9 is designed to resolve cinema-quality 4K imagery. It also features manual rings to control zoom, focus and aperture, as well as a dedicated ring for adjusting back focus. The lens boasts a fast T2.9 aperture across the entire zoom lens for achieving shallow depth of field.
For readers more familiar with F-stops, T-stops are similar in that both measure the amount of light allowed into the lens. Very simply put, where F-stops are calculated relative to the lens itself and used primarily for stills lenses, T-stops, or Transmission stops, are a universal measurement of light transmission that is standardized separate from any one specific lens. T-stops are mostly utilized on film glass where consistency between different lenses is crucial on carefully lit sets.
For practical purposes, the MK18-55 T2.9 aperture rating is comparable to a F2.8 photography lens in its light-capturing ability. It also features click-less aperture adjustments, allowing for smooth iris transitions mid-shot. These kinds of adjustments are one of the most significant advantages of dedicated cine lenses vs. glass designed for stills photography.
Under the hood
Another standout feature of the Fujinon MK18-55 T2.9 is that the lens is parfocal, meaning that it holds focus throughout the zoom range. Anyone who's filmed run-and-gun documentary work with stills lenses has very likely been burned, repeatedly, by focus drift when quickly crash zooming. After shooting for just a few minutes this ability to maintain critical focus while zooming quickly became one of its standout features. The MK18-55 T2.9 has also been carefully engineered to eliminate lens ‘breathing', meaning that the framing doesn't change when rack focusing between subjects.
A final standout aspect of the MK18-55 T2.9 is the built-in macro switch built into the lens. This allows cinematographers to film close-up shots, which is great for focusing on objects about 20 inches away from the lens, but also useful in achieving extreme close up shots. In testing we achieved some great results utilizing the macro function, but as expected, a zoom this wide won't replace a true macro lens.
Putting it to the test
Without a doubt, the feature set on the MK18-55 T2.9 is impressive, and after putting the lens through its paces we had zero complaints with their implementation. At the end of the day, however, the most important questions have to do with the quality of imagery it captures. And after spending time working with the footage from our test shoots we were seriously impressed.
The colors coming off the lens were accurate and well balanced. There seemed to be a very slight green bent in certain lighting scenarios, but it disappeared almost immediately within the course of a routine color correction session. The skin tones coming off the lens were absolutely beautiful and free of any discernable vignetting, even when zoomed all the way out to 18mm.
Keeping it sharp
The Fujinon MK18-55 T2.9 is advertised to resolve 4K imagery, so we were sure to performs all of our tests at that same resolution. We found the footage to be sharp from across the entire frame, especially when stopped down to around T4. When filming wide open at T2.9 the focal plane was more narrow than anticipated, necessitating a quality external monitor to achieve critical focus. Not a deal-breaker by any stretch, but something to be aware of.
On the flipside, the bokeh created by the glass was smooth and characteristic-free. Some filmmakers may prefer to have a certain style of bokeh on specific projects, but for filmmakers or Film Teams working across a wide variety of projects the bokeh created by this lens is more ideal.
One very important feature of the Fujinon MK18-55 T2.9 is the camera's ability to adjust back focus. For filmmakers not familiar with this concept, it means the lens has the ability to adjust the distance from the lens' back optical element to the sensor. This ensures the image hitting the sensor is a sharp as possible, regardless of which camera is being utilized with the lens. In our tests we found it was crucial to set this back focus in order to achieve the sharpest image possible.
In conclusion
As mentioned earlier, after spending some time with the MK18-55 T2.9 it's clear that Fujinon is targeting the higher end of the owner/operator market with this lens. It's a perfect zoom for run-and-gun documentary work, but would also be equally at home capturing narrative footage on a set. While it may constitute a serious investment for church Film Teams, it's the kind of investment that could pay off for a number of year.
Currently the MK18-55 T2.9, along with the MK50-135 T2.9 coming later this summer, is designed for the Sony E mount only. It seems clear that Fujinon is targeting Sony FS7 and FS5 user with this lens, which in our tests proved to be a heck of a filmmaking combination. It's not difficult to imagine the MK18-55 T2.9 lens being a go-to option for cinematographers filming with the A7S as well.
The Fujinon MK18-55 T2.9 Cine Lens is currently scheduled to begin shipping March 1 for a list price of $3,799. Visit www.fujifilm.com to find out more.
