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Posts Tagged ‘T/2.9’

Venus Optics brings its Laowa 9mm T2.9, 12mm T2.9 and 15mm T2.1 cine primes to Canon RF mount

28 Sep

Venus Optics has announced it’s now adding a Canon RF lens mount option for three of its ultra-wide cinema primes: the 9mm T2.9 ‘Zero-D’ lens, 12mm T2.9 ‘Zero-D’ lens and 15mm T2.1 ‘Zero-D.’

The 12mm T2.9 ‘Zero-D’ lens was released back in January of this year, while the 9mm T2.9 and 15mm T2.1 ‘Zero-D’ lenses were announced back in June of this year. At the time, the lenses were only available for Sony E, Canon EF and PL mount, but owners of Canon’s EOS R series mirrorless cameras can now get native versions of the lenses, negating the need to use the EF version with the EF-RF adapter.

Photo Credit: Photo by Phil Holland, provided by Venus Optics

As part of the Loawa Zero-D’ line, all three lenses offer ‘close-to-zero’ distortion. All three lenses also feature industry standard 0.8 mod pitch gears for controlling both the aperture and focus.

As a quick refresher, below are specification summaries for each of the lenses:

9mm T2.9 ‘Zero-D’ lens

The 9mm T2.9 is constructed of 15 elements in 10 groups, has a minimum focusing distance of 12cm (4.72”), uses a seven-blade aperture diaphragm and weighs 247g (8.71oz).

12mm T2.9 ‘Zero-D’ lens

The 12mm T2.9 is constructed of 16 elements in 10 groups, has a minimum focusing distance of 18cm (7.09”), uses a seven-blade aperture diaphragm and weighs 675g (1.5lbs).

15mm T2.1 ‘Zero-D’ lens

The 15mm T2.1 is constructed of 12 elements in 9 groups, has a minimum focusing distance of 15cm (5.91”), uses a seven-blade aperture diaphragm and weighs 540g (1.19lbs).

All three lenses are available to purchase with the Canon RF mount starting today on Laowa’s online shop. The 9mm T2.9, 12mm T2.9 and 15mm T2.1 retail for $ 600, $ 1,500 and $ 1,200, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Laowa 12mm T2.9 Zero-D Cine review – Do you need an ultra-wide for video?

07 May

Ultra-wide lenses pose special challenges when shooting video, but can create dramatic effects. We review the Laowa 12mm T2.9 Zero-D Cine lens, which shares the same optical formula as the company’s 12mm F2.8 lens for full frame cameras.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Using ultra-wide lenses for video
  • How the Cine version differs from the standard Laowa 12mm F2.8 Zero-D
  • Lens breathing
  • Distortion
  • Sharpness
  • Sunstars and flare
  • Do you need an ultra-wide for video?
  • Which version should you get: Stills or Cine?
  • See you next time!

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the Fujinon MK50-135mm T2.9 cine lens

22 Jun

Hands-on: Fujinon MK50-135mm T2.9 cine lens

The Fujinon MK50-135mm T2.9 cinema lens is the second in Fujifilm’s new line of MK lenses designed for Super 35 and APS-C cameras. MK lenses are designed to appeal to the emerging production market, offering features and quality typically associated with more expensive cinema lenses at a price point that’s attractive to budget-conscious cinematographers. The MK lenses are based on Fujifilm’s excellent Cabrio line of cinema lenses (which cost $ 15K and up), and share the same coatings as well as a similar mechanical build, but at a cost just under $ 4,000 they’re more accessible to a lot of users.

I reviewed the first MK lens, the MK18-55mm T2.9, a few months ago and really liked it. Since the two lenses are designed to work as a set, they’re basically indistinguishable except for focal length, so if you want to read my detailed thoughts on how the MK lenses perform I recommend reading my earlier review, which for all practical purposes applies to both lenses.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

If you’re not yet familiar with the MK cine lenses, you may be surprised to learn that they use Sony E-mount. Why? Fujifilm wants to address the growing market of independent filmmakers, small production houses, and other professionals who use the Super 35 and APS-C formats. Sony has a huge presence in this market thanks to cameras like the FS7, FS5, and even a-series mirrorless, and many users of these cameras adapt other lenses, such as Canon EF-mount, to their cameras.

What about Fujifilm’s own mirrorless cameras? The company has announced plans to release MK lenses in X-mount later this year so that Fujifilm shooters can take advantage of them as well.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

When I tested the MK18-55mm lens earlier this year, I did so with a Sony FS7, a Super 35mm camera mounted on a shoulder rig with rails, a follow focus, and an accessory EVF. However, Fujifilm emphasizes that the MK lenses are also designed for use on similarly sized APS-C sensors, so this time I decided to go that route. Unfortunately, during our short window of time with the lens I didn’t have access to a rig for a full setup, so I was limited to basic tripod and handheld use.

When mounted the Sony a6500, it’s easy to see how large the MK50-135mm is compared to the diminutive camera. While it’s technically possible to shoot this combination handheld, it’s not terribly practical thanks to its large size and all mechanical controls.

The great news is that the video I captured looked beautiful, and the lens appears to deliver the same quality that we saw on the MK18-55mm.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

I also tried using the MK50-135mm with the full frame Sony a7R II in Super 35mm mode. The size mismatch is a bit less obvious than with the a6500, however it’s no more practical for shooting handheld. That’s not necessarily a bad thing – chances are good that if you’re considering this type of lens, you’re planning to rig it in some way.

In fact, this lens works very well with both the a6500 and a7R II (in Super 35 mode), and would be a great lens to pair with either of them. With a basic set of rails and a follow focus, the setup would work just as effectively as with a dedicated video camera.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

One of the reasons for using cinema lenses is that they often come in matched sets, and this is the case with the MK lenses. The MK18-55mm and MK50-135mm are physically identical, including T2.9 iris, gearing, dimensions, and even weight (right down to the gram). They’re also matched optically, meaning they can be interchanged seamlessly without changing the look of the resulting footage.

Why are matched lenses important? In a cine setup the lens is often mounted on rails, and likely has attachments such as a follow focus or matte box. Ideally, you don’t want to have to readjust every accessory each time you change lenses, and having physically matched lenses means you can swap them in and out very quickly without needing to readjust everything. The MK lenses are so similar that I would have a difficult time telling them apart without seeing the zoom range printed on the lens barrel.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

When it comes to build quality, the MK50-135mm is very solid thanks to its all metal construction. As with most cinema lenses, it’s completely mechanical, and every movement feels well damped. It’s a pleasure to use and gives one the sense of using a high quality piece of precision equipment.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

One thing that sets the MK50-135mm apart from most still photo lenses is the large 200 degree focus rotation angle. This offers a lot more precision than you’ll get with the shorter focus throw of a DSLR lens, or the unpredictability of focus-by-wire, so it’s easy to make very fine adjustments as your subject moves. The lens includes very precise distance marks, in both English and metric units. This is particularly helpful if you have a separate focus puller who is following the action in a blocked scene.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

The MK50-135mm also has a parfocal design, meaning it can maintain precise focus while adjusting the focal length. As still photographers, we don’t usually worry about this capability since it’s easy to refocus after zooming. In contrast, when shooting video you may actually intend to zoom while recording, and you want to maintain focus on your subject through the entire transition. Losing focus during a zoom can ruin the shot.

I was really impressed with the parfocal performance on the first MK lens, and the MK50-135mm performed to the same standard.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

Another common property of cinema lenses is that they resist breathing, a phenomena that causes the lens’s field of view to change slightly when focus is adjusted. This becomes particularly important when you’re doing something like racking focus between two subjects; you don’t want the field of view of the scene to change when you do this as it can be very distracting. The MK50-135mm suppresses lens breathing very effectively, which is not surprising given that the MK18-55mm did so as well.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

Based on a couple days of use, I really like the Fujinon MK50-135mm lens, which – not surprisingly – is the same conclusion I came to after testing the MK18-55mm version. They’re both beautiful pieces of equipment that are a joy to use, and which deliver excellent results. The fact that there are now two of them spanning the entire 18-135mm range makes me want the set even more. If you’re a videographer using an E-mount camera, it’s really tough to go wrong with these lenses.

The MK lenses should also appeal to Fujifilm X-mount users. In particular, we found the Fujifilm X-T2 to be a credible 4K video camera, especially since it’s capable of outputting F-Log gamma over its HDMI port. We don’t yet know the exact release date for the X-mount versions, but Fujifilm tells us it will be later this year, and we saw prototypes at NAB in April.

The MK50-135mm T2.9 will be available in E-mount in mid-July for a price of $ 3,999, which is just slightly higher than the $ 3,799 MK18-55mm.

Articles: Digital Photography Review (dpreview.com)

 
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First Look: Fujinon MK18-55mm T2.9 cine lens

23 Feb

First look: Fujinon MK18-55mm T2.9 cine lens

The new Fujinon MK18-55mm T2.9 cine lens is the first of the company’s new line of ‘MK’ series Fujinon lenses aimed at the ’emerging production’ market. These lenses are designed to meet the needs of cinematographers who require features generally found on cinema lenses, who often work in the Super 35 format, and can’t justify the cost of lenses costing tens of thousands of dollars more than their cameras.

According to Fujifilm, the MK lenses are basically a smaller version of its Cabrio series of cinema lenses, which typically cost $ 20,000 or more. The two lens lines share the same coatings and general mechanical design for moving lenses and groups. Between the 18-55mm and the already-announced MK50-135mm lens, the MK line covers the very useful 18-135mm range for Super 35 shooters.

Perhaps the most interesting feature, however, is Fujifilm’s use of Sony’s E-mount standard, which we’ll look at next.

First look: Fujinon MK18-55mm T2.9 cine lens

So why Sony E-mount? Fujifilm already builds high-end lenses for the PL mount favored by film and broadcast studios. But the company wants to address the burgeoning market of independent filmmakers, small production houses, and other professionals using the Super 35 and APS-C formats. Sony has a huge presence in this market, with many professionals using the Sony FS7, FS5, and even a-series cameras. However, there are few dedicated cinema lenses for E-mount, with many shooters using EF-mount lenses via adapters.

This means there’s a huge potential market of professional videographers who can be targeted. Also, since these lenses are built to mount so close to the sensor, they can’t be adapted to mount on PL mount cameras, meaning that Fujifilm doesn’t risk cannibalizing sales of their HK, ZK, and XK range of cine lenses.

First look: Fujinon MK18-55mm T2.9 cine lens

One difference between cinema lenses and most modern photography lenses is that cinema lenses use an all mechanical design. There’s no ambiguity of movement, such as focus mechanisms that keep turning when they reach the end of their range.

Additionally, gearing on lens elements allows the use of accessories such as a follow focus (a geared control that allows fine-grained, smooth control over focus, often relocated to a more convenient position). The gearing also allows motorized control of any of theses rings, if the lens itself is buried too deeply in a rig or placed on a shoulder mount or Steadicam, where direct access is not practical.

The Fujinons both use the industry-standard 0.8 gear pitch, which allows them to be used with the broadest range of existing accessories.

First look: Fujinon MK18-55mm T2.9 cine lens

An important aspect of cinema lenses is that lens sets are often matched so that lenses are the same (or very similar) size and weight, which facilitates easy switching and doesn’t require the entire camera rig to be modified or rebalanced when a lens change occurs. This way, it’s easy to switch lenses while keeping things such as matte boxes, follow focus, or stabilization systems in place. 

Lenses in a set typically have the same T-stop to insure perfectly consistent exposure when switching lenses, as well as producing the same color and contrast.

The MK lenses appear to achieve this. The MK18-55mm and MK 50-135mm lenses have the exact same weight, dimensions, front diameter, and filter size, which should make it easy to switch between them without issue.

First look: Fujinon MK18-55mm T2.9 cine lens

The MK18-55mm lens, as well as the upcoming MK50-135mm version, are both T2.9 lenses. Unlike F-stops, which are based on the physical aperture size of a lens, T-stops indicate the actual amount of light transmission for the lens. This makes it possible to switch lenses with the confidence that all lighting and exposure settings will be consistent when a lens change occurs, and that all footage can be matched very closely.

First look: Fujinon MK18-55mm T2.9 cine lens

The focus system of this lens is designed to meet the needs of cinematographers. It has 200 degrees of focus rotation, allowing for very precise focus adjustments using a follow focus system. Additionally, the focus mechanism has hard stops at the end of its range, making it possible to do things like mark positions for a focus pull with no ambiguity about where focus will occur. In contrast, most DSLR or mirrorless lenses continue rotating even after reaching the end of their focus range, making this extremely difficult.

The lens also includes precise distance marks. This may not be a big deal to still photographers, who typically focus through the lens or on an LCD screen, but it’s important if you have a separate focus puller who’s trying to follow the action in a ‘blocked’ scene, where all the action takes place at prearranged distances.

First look: Fujinon MK18-55mm T2.9 cine lens

Another feature that is hugely valuable for video work, yet not generally important for stills, is a parfocal design.

Parfocal zooms maintain focus at the same distance, even when you change the focal length. This is of little value in the autofocus world of stills shooting: it’s trivial to get the lens to refocus after a zoom and before you fire the shutter. But in the realm of video shooting, where the process of zooming the lens may be part of the final product, you can’t afford for the footage to drop out of focus, mid shot.

The parfocal design means, for instance, you can frame a wide-shot of a two-person interview and then zoom-in on one of the subjects, without them dropping out of focus. Both of the Fujinon lenses exhibit parfocal behavior. Zoom can be adjusted using the included lever or via the lens gearing.

First look: Fujinon MK18-55mm T2.9 cine lens

In addition to parfocal design, another desirable property of cinema lenses is that they don’t exhibit lens breathing, a phenomena in which adjusting the focus of a lens slightly changes the field of view at the same time.

As with parfocal design, this isn’t a big issue for most still photographers as only the ‘decisive moment’ is being captured. For cinematographers, however, adjusting focus during a shot is very common (racking between two subjects, for example), and it’s distracting to the audience when this also causes the field of view to shift. As such, the MK18-55mm is designed to suppress lens breathing during focus operations.

First look: Fujinon MK18-55mm T2.9 cine lens

In addition to regular shooting, the MK18-55mm also includes a macro function that makes it possible to focus within a few inches of the front lens element. It’s probably not something most people will use all the time, but if you need a macro shot in your production it allows you to capture the footage without bringing in a non-standard lens.

Additionally, and consistent with being developed alongside studio-quality lenses, the MK lenses feature an adjustment flange to correct back focus. In video circles, ‘back focus’ refers to the distance at which the lens is attempting to focus its image: and perfect performance can require very slight adjustment to correct for any manufacturing tolerances. Studio cameras often allow tiny movements of their mount to ensure the correct lens to sensor distance. Since the MK lenses are likely to be used on cameras without this correction, it’s included in the lens, instead.

First look: Fujinon MK18-55mm T2.9 cine lens

One of the most exciting aspects about the Fujinon MK lenses requires taking another look at why these are going to be E-mount lenses.

In addition to a potential market of E-mount videographers, and Sony’s willingness to share its E-mount specification, there’s another reason we suspect Fujifilm has gone with E rather than EF or PL: the similarity to its own X mount. While the details differ, the flange-back distances of the two mounts vary by only 0.3mm, meaning that any optical design that works for the E-mount should work similarly well for Fujifilm’s X-mount.

In fact, Fujifilm has already announced that X-mount versions of these lenses are being developed for launch later this year, which raises the question: is Fujifilm really expecting owners of current X-mount cameras to spend $ 4000 on video-specific lenses? Or does this lens, and all the work done on developing the X-T2’s 4K capabilities, herald a more substantial entry for Fujifilm into the semi-pro video space?

Articles: Digital Photography Review (dpreview.com)

 
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Fujinon MK18-55 T2.9 cine lens: First impressions and shooting experience

22 Feb
Setting up the Fujinon MK18-55mm T2.9 cine lens with the Sony FS7 and Zacuto rig. (I accidentally left the matte box back at the office. Shh… don’t tell anyone.)

Fujifilm is a respected name in the photography world thanks in part to its highly regarded X-series cameras and lenses. However, Fujifilm is also a major player in the professional cinema market, producing cinema lenses with prices that reach upward of $ 90,000. The company is now extending its cinema expertise into what it calls the ‘emerging production’ market: users who need capabilities and features beyond what’s available in standard DSLR or mirrorless lenses, but who don’t have a budget to spend tens of thousands of dollars on a single lens.

The Fujinon MK18-55mm T2.9 cinema lens is the first in Fujifilm’s new MK line of Super 35 lenses designed specifically for this market. It will be joined later in the year by the matching MK50-135mm T2.9 lens, giving users complete coverage of the very useful 18-135mm range of focal lengths. The MK line is based on the company’s Cabrio line of cinema lenses, which have prices starting around $ 15,000, and both lens lines share the same coatings and basic mechanical build. At $ 3,799, the MK18-55 is still a bit pricey by photography standards, but a relative bargain for a high quality cinema lens.

Sony E-mount on a Fujinon lens? Read our First Look slide show to learn why.

Despite being a Fujifilm product, this lens uses Sony E-mount. (We discuss Fujifilm’s reasons for choosing E-mount in our First Look slide show.) As a result, I tested the lens attached to a Sony FS7, a Super 35 camera that’s very popular among this segment of users.

Shooting with the MK18-55mm T2.9

We only had a couple days to do our testing, so I threw together a quick shoot highlighting one of the Pacific Northwest’s favorite sports – climbing – and met up with local climber Jay Griffin at The Mountaineers climbing wall in Seattle. This scenario was perfect for shooting with focal lengths across the range of the lens, as well as for some good follow focus opportunities.

TL;DR – I really like this lens. In fact, I won’t even make you wait to get to the video, so here it is:

Video shot using the Fujinon MK18-55mm T2.9 cine lens and Sony FS7 camera. All footage was captured in DCI 4K/24p using Sony SLog3, edited in Final Cut Pro X, and graded using LUTs from Color Grading Central.

I chose to shoot the entire video shoulder-mounted, so I set up the FS7 on a Zacuto Recoil rig with rails, a Z-Drive follow focus, and a Gratical Eye viewfinder, along with the FS7’s remote grip. This is a fairly straightforward setup, but it takes a few minutes to arrange all the pieces so that everything works correctly and is ergonomically arranged for the camera operator

Setting up the rig highlighted one of the important features of the MK lenses: they’re matched. For this shoot I only had the MK18-55mm available, but later in the year Fujifilm will be adding the MK 50-135mm to the line as well; both lenses share the same weight and dimensions. In a two-lens shoot, it would be incredibly easy to switch between the two while leaving things like matte boxes and follow focus in place. Also, since both lenses have identical T-stops it would be easy to match exposure as well.

Using the lens was a joy. As with most cinema lenses, it’s completely mechanical, and build quality is outstanding. Every movement feels well damped, and one gets the immediate sense that it’s a high quality piece of precision equipment.

One place where this mechanical build is immediately noticeable is the focus ring. Unlike most modern DSLR or mirrorless lenses, which continue to spin after reaching the end of their focus range, the MK18-55mm has hard stops.

Working with a follow focus is a breeze thanks to the mechanical lens design and geared focus ring.

It was simple to set up the Z-Drive follow focus with the standard pitch gearing on the focus ring, and thanks to the 200 degree focus rotation angle it was easy to make precise focus adjustments, using peaking in the viewfinder as a guide. The large rotation angle made it easy to adjust for small movements or to follow Jay when he moved slowly. You don’t get this level of precision with the shorter focus throw of most DSLR lenses, and you certainly don’t get it with focus-by-wire!

I didn’t notice any obvious signs of lens breathing, a phenomena that causes a lens’s field of view to change slightly as a lens is focused. Breathing is fairly common on stills camera lenses, and it rears its ugly head when you’re trying to do something like rack focus between two subjects. Cine lenses are designed to suppress lens breathing, and as far as I could tell the MK18-55 did so extremely well.

Like other cine lenses, the MK18-55mm has a parfocal design, meaning it should maintain precise focus during zooming. Still photographers often don’t care much about this since it’s simple to zoom and then refocus before taking a shot. For video work, however, you sometimes want the zoom to be part of the shot. Loosing focus mid-zoom is a big deal.

Since I was using a shoulder mount rig without an assistant, it wasn’t very practical to test the parfocal performance of the lens with Jay. However, back in the studio I lined up the lens with our studio scene and confirmed that its performance is excellent in this regard; once focused, the subject remains in focus throughout the zoom range.

 Shooting with the Fujinon MK18-55mm T2.9 lens and Sony FS7.

It should be pretty obvious by now that I really enjoyed using the MK18-55mm. In addition to finding it well designed and delightful to work with, I was very pleased with the footage I captured. Optical performance appears to be outstanding. Based on my brief experience I would have no qualms about shooting a full project with this lens. It’s exciting to see Fujifilm entering this market, and I’m really looking forward to future lenses in the MK line.

Now, bring on the MK50-135mm so I can use the set!

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss announces Compact Zoom CZ.2 15-30mm T2.9 lens

28 Mar

Zeiss.jpg

Zeiss will have its new Compact Zoom CZ.2 15-30mm T2.9 lens on display at this year’s National Association of Broadcasters (NAB) show in Las Vegas, April 7-10. The new lens fills the wide-angle gap in Zeiss’ cine-style zoom lineup, complementing the already available CZ.2 28-80mm T2.9 and CZ.2 70-200mm T2.9 lenses. Also at the show will be a new Arri/Zeiss Master Anamorphic MA 135mm T1.9 lens. Learn more

News: Digital Photography Review (dpreview.com)

 
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Carl Zeiss adds 15mm T/2.9 and 135 T/2.1 Compact Prime cine lenses at NAB

10 Apr

CP2_15_T29.png

Carl Zeiss has announced two videography-orientated lenses to add to its CP.2 Compact Prime range, a 15mm and a 135mm. The lenses, to be unveiled at the NAB broadcast industry trade show in Las Vegas, are the CP.2 15mm T/2.9 and CP.2 135mm T/2.1. Both lenses are color-matched to allow consistency in footage shot with different lenses, and feature interchangeable mounts, allowing use with PL, EF, F, MFT and E mounts. The two lenses will be available in the fourth quarter of 2012 at an MSRP of €4,200 / US$ 5,700 (excluding VAT).

News: Digital Photography Review (dpreview.com)

 
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