{"id":38203,"date":"2017-06-01T07:00:49","date_gmt":"2017-06-01T07:00:49","guid":{"rendered":"http:\/\/philipbloom.net\/blog\/?p=38203"},"modified":"2017-07-12T12:27:46","modified_gmt":"2017-07-12T12:27:46","slug":"fujinonmk50135","status":"publish","type":"post","link":"https:\/\/philipbloom.net\/blog\/fujinonmk50135\/","title":{"rendered":"Filming with the new FUJINON MK 50-135mm E mount Cine Lens with the Sony FS5 & Atomos Inferno"},"content":{"rendered":"

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ETHICS STATEMENT:\u00a0Earlier this year I was hired by Fuji to make a video using their new E mount cinema lens the MK 18-55mm T2.9\u00a0<\/a>\u00a0I was hired again to shoot footage for the second lens in the set, the 50-135mm, which you can see and read about on this blog post.<\/p>\n

All photos taken by Sarah Seal with the magnificent Fuji GFX 50S<\/span><\/a><\/h4>\n

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If you have never shot with a Cinema lens, then you are in for a treat. They generally don’t have the issues that plague DSLR lenses; focus breathing, non parfocal, short focus throws, stepped apertures, focus barrels with no hard stops. The bit that isn’t a treat is that they generally cost an arm and a leg and almost weigh as much as that too!<\/p>\n

To be honest, all those issues with DSLR lenses were new to me because, before the DSLR revolution, I used nice big B4 broadcast lenses. They are similar in many ways mechanically to a cine lens, but have a much larger range because they only need to cover the comparatively tiny 2\/3\u201d sensors. So when I started using the Canon 5D MKII, the issues with stills glass came as a bit of a shock. I was used to nice mechanics for smooth and easy operation. Suddenly, I no longer had hard focus stops. The focus barrel rotation went from close to infinity with a tiny movement of the wrist, making it really hard to pull focus following someone, and my zooms didn’t hold the focus through the range. All of these were very problematic for my documentary filming, but I coped.<\/p>\n

That is why when Fuji first asked me to test out their new MK native E-mount cinema lenses, I was extremely excited. For the first time in 8 years, I was going to be able to use high quality optics on my large format video cameras with the mechanical operation I was so used to from my B4 days\u2026and not break the bank!<\/p>\n

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I have been using the MK 18-55 T2.9 since December, and it has been a joy ever since. I took it to Gran Canaria the following month to shoot some promotional footage for Fuji, and I have also used it on many projects since. The range on that lens gives you a rough full-frame field of view equivalent to a 24-70mm zoom. Whilst this is great for close-up filming and handheld work, my most common lens for shooting B-Roll and interviews is actually the telephoto full frame 70-200mm. That was why I have been excitedly anticipating the second lens in the MK line, the 50-135mm. This focal length gives me that full frame equivalent of 70-200mm.<\/p>\n

Again, Fuji hired me to shoot some promotional footage with the lens, so the day after receiving it, I was filming in London with it for the first time alongside the 18-135mm. The first video I made was much more landscape-based as it was wider, so with the second video I needed a subject to make the most of the telephone lens. Oo I took my shooting assistant Sarah Seal (she also filmed the BTS video) around the city and filmed her using the wonderful medium format GFX 50s. I wanted to make a video that showed the entire range of the optics from 18mm to 135mm, a video that took in magnificent wides and beautiful close ups.<\/p>\n

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