InCinematographer - Issue 1 - June 2017 - 8

08

www.incinematographer.com | Issue 1 | June 2017

FUJIFILM to Show
New Lenses at Cine Gear

FUJIFILM/FUJINON is to host a lens projection room and new MK demonstrations during Cine Gear Expo...

T

he newly launched MK Series of cinema lenses
from the Optical Devices Division of FUJIFILM,
along with the UA Series of HDR zooms, will make
their Cine Gear debut.
Also showcased during this event will be the
entire range of FUJINON PL mount Cabrio and
Premier zooms.
In addition to the new lens highlights, a
projection room within the company's booth
will return after a strong customer reception to
a similar event held during Cine Gear 2016.
A variety of lens technicians from around the
country, such as Matthew Duclos, of Duclos Lenses,
are scheduled to discuss and compare the optical
traits of FUJINON cinema style lenses throughout
both days of the show.
"Cine Gear draws its sizeable crowd from some of
our most active and involved customers," said Tom
Fletcher, Director of Sales, Optical Devices Division
of FUJIFILM. "While we've participated in Cine Gear
Expo since its inception, hosting a projection room
with independent optical technicians from various
rental houses and service facilities is relatively
new. We're looking forward to connecting with our
existing customers more dynamically in this way
as well as with an exciting, new group of potential
FUJINON customers."
MK Lenses
With the first in its series introduced in February
of this year, MK lenses are currently designed
for E-mount cameras and boast advanced optical
performance, ultra-compact and lightweight design,
as well as superb cost performance.
The FUJINON MK18-55mm T2.9 is a standard zoom
with an 18-55mm focal length. The FUJINON MK50135mm T2.9 will be available this summer. With a
combined focal length range of 18mm-135mm in the
Super 35mm format, together the first two MK lenses
cover the most frequently used range utilized by
emerging cinematographers.
MK18-55mm -
FUJINON pledges
consistent colour

MK50-135 T2.9
zoom lens

The
series
offers
fast lenses with T2.9
speed across the entire
zoom range, enabling
a shallow depth-offield. The entire MK
series is designed with the
'emerging' cinematographer in
mind, whether shooting a live
event, online programming,
documentary, independent
or short film production.
The MK lenses are
designed to maintain
consistent
color
temperature with all FUJINON
cinema lenses, which simplifies color
grading. The series also inherits the FUJINON cine
lenses' advanced edge-to-edge optical performance
and low distortion, while boasting compact and
lightweight design as well as outstanding cost/
performance.
The MK18-55 and MK50-135mm weigh in at a light
980grams (2.16lbs) with front diameters of 85mm
and lengths of 206mm. The MK18-55mm's minimum
object distance (MOD) is 0.85meters/2.78 feet, while
the MK 50-135mm's MOD is 1.2m/3.93feet.
In addition to their lightweight and compact build,
the MK lenses are purpose-built for the operator.
Only one matte box and one filter size are needed
between the lenses. Time-saving features include
a macro function that allows for a broader range of
close-up shooting, and gears for the three rings are
positioned in the exact same place, which eliminates
the need to re-position accessories when switching
lenses.
The lenses each contain a Flange Focal Distance
adjustment function to achieve optimal camera
and lens matching. The short flange focal distance
contributes to the lenses' compact size and
lightweight. Distances are listed in feet and meters.
The iris supports seamless adjustment that is free
of clicking. This enables precise exposure adjustment
without any sound from clicking between T-stops.
The lenses also feature three rings for manual and

independent adjustment of focus, zoom, and iris
(aperture), with the gear pitch of 0.8M (module).
The focus ring can rotate fully up to 200 degrees
to facilitate precise focusing.
The MK lenses are compatible with E-mount
cameras with the Super 35mm / APS-C sensor.
X Mount versions of the MK lenses (with focal
lengths of 18-55mm and 50-135mm) used in the
FUJIFILM X Series line of digital cameras (with APS-C
sensors) are being developed, and are
expected to be available by
the end of the year.
Premier UA Series
The latest handheld
and studio lenses in the
company's Premier UA Series
of 4K HDR 2/3" lenses will
HDR handheld lens:
make their first Cine Gear
UA14x4.5B4K
and UA18x5.5 appearance. The UA14x4.5B
and UA18x5.5B are the
latest handhelds, and the
UA27x6.5B is the latest
studio lens in the UA
series - the world's first
designed
specifically
for
HDR
broadcast
applications.
The new lenses deliver
edge-to-edge 4K optical
quality to 2/3-inch 4K portable
cameras and camcorders. These lenses join the
UA13x4.5B, UA22x8B, UA80x9B, and UA107x8.4B in
this series.
Cabrio PL Lenses
FUJINON's popular Cabrio PL lens series includes:
the newly introduced PL 20-120mm zoom, the PL 25300mm, PL 19-90, PL 85-300, and PL 14-35mm. The
PL 20-120, PL 19-90, PL 85-300, and PL 14-35 Cabrio
feature detachable digital servo drive units.
The PL 25-300 servo is optional, making all five
Cabrios suitable as a standard cine or ENG-style lens.
Designed using the latest proprietary optical simulation software, the entire range of Cabrio lenses offer exceptional optical performance in the center of
the image and in the corners of the frame.
www.fujifilmusa.com/products/optical_devices

Newly introduced PL20-120 Cabrio lens


http://www.incinematographer.com https://youtu.be/5Cx66LKDPTc http://www.fujifilmusa.com/products/optical_devices http://www.fujifilmusa.com/products/optical_devices/digital-film-cinema/pl_cine_lenses/premier_xk_cabrio_pl_compact_lenses/20-120/index.html

Table of Contents for the Digital Edition of InCinematographer - Issue 1 - June 2017

In This Issue
InCinematographer - Issue 1 - June 2017 - Intro
InCinematographer - Issue 1 - June 2017 - Cover1
InCinematographer - Issue 1 - June 2017 - Cover2
InCinematographer - Issue 1 - June 2017 - In This Issue
InCinematographer - Issue 1 - June 2017 - 4
InCinematographer - Issue 1 - June 2017 - 5
InCinematographer - Issue 1 - June 2017 - 6
InCinematographer - Issue 1 - June 2017 - 7
InCinematographer - Issue 1 - June 2017 - 8
InCinematographer - Issue 1 - June 2017 - 9
InCinematographer - Issue 1 - June 2017 - 10
InCinematographer - Issue 1 - June 2017 - 11
InCinematographer - Issue 1 - June 2017 - 12
InCinematographer - Issue 1 - June 2017 - 13
InCinematographer - Issue 1 - June 2017 - 14
InCinematographer - Issue 1 - June 2017 - 15
InCinematographer - Issue 1 - June 2017 - 16
InCinematographer - Issue 1 - June 2017 - 17
InCinematographer - Issue 1 - June 2017 - 18
InCinematographer - Issue 1 - June 2017 - 19
InCinematographer - Issue 1 - June 2017 - 20
InCinematographer - Issue 1 - June 2017 - 21
InCinematographer - Issue 1 - June 2017 - 22
InCinematographer - Issue 1 - June 2017 - 23
InCinematographer - Issue 1 - June 2017 - 24
InCinematographer - Issue 1 - June 2017 - 25
InCinematographer - Issue 1 - June 2017 - 26
InCinematographer - Issue 1 - June 2017 - 27
InCinematographer - Issue 1 - June 2017 - 28
InCinematographer - Issue 1 - June 2017 - 29
InCinematographer - Issue 1 - June 2017 - 30
InCinematographer - Issue 1 - June 2017 - 31
InCinematographer - Issue 1 - June 2017 - 32
InCinematographer - Issue 1 - June 2017 - 33
InCinematographer - Issue 1 - June 2017 - 34
InCinematographer - Issue 1 - June 2017 - 35
InCinematographer - Issue 1 - June 2017 - 36
InCinematographer - Issue 1 - June 2017 - 37
InCinematographer - Issue 1 - June 2017 - 38
InCinematographer - Issue 1 - June 2017 - 39
InCinematographer - Issue 1 - June 2017 - 40
InCinematographer - Issue 1 - June 2017 - 41
InCinematographer - Issue 1 - June 2017 - 42
InCinematographer - Issue 1 - June 2017 - 43
InCinematographer - Issue 1 - June 2017 - 44
InCinematographer - Issue 1 - June 2017 - 45
InCinematographer - Issue 1 - June 2017 - 46
InCinematographer - Issue 1 - June 2017 - 47
InCinematographer - Issue 1 - June 2017 - 48
InCinematographer - Issue 1 - June 2017 - 49
InCinematographer - Issue 1 - June 2017 - 50
InCinematographer - Issue 1 - June 2017 - 51
InCinematographer - Issue 1 - June 2017 - 52
InCinematographer - Issue 1 - June 2017 - 53
InCinematographer - Issue 1 - June 2017 - 54
InCinematographer - Issue 1 - June 2017 - 55
InCinematographer - Issue 1 - June 2017 - 56
InCinematographer - Issue 1 - June 2017 - 57
InCinematographer - Issue 1 - June 2017 - 58
InCinematographer - Issue 1 - June 2017 - 59
InCinematographer - Issue 1 - June 2017 - 60
InCinematographer - Issue 1 - June 2017 - 61
InCinematographer - Issue 1 - June 2017 - 62
InCinematographer - Issue 1 - June 2017 - 63
InCinematographer - Issue 1 - June 2017 - 64
InCinematographer - Issue 1 - June 2017 - 65
InCinematographer - Issue 1 - June 2017 - 66
InCinematographer - Issue 1 - June 2017 - 67
http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue3
http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue2
http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue1
http://usa.nxtbook.com/nxteu/lesommet/incinematographer
http://www.nxtbookMEDIA.com