After popular demand, the FUJINON XK20-120mm PL lens is now available without the servo motor unit, resulting in a price reduction. 3rd Parties are now offering mount adapting too. Two years on from the FUJINON Cabrio 20-120mm PL release, FUJINON realised that lots of customers were removing the servo motor unit so the lens can be used as a full manual lens, or with electronic focus, zoom and iris control. Because of this, FUJINON will now be shipping the lens without the servo motor unit, resulting in a price reduction to below $10,000. This puts the very popular lens in the same price bracket as the ZEISS LWZ.3 21-100mm. The lens will still be available with the servo motor unit, at the original retail price, however this change of option means that users can now pair the lens with other motorized controls from manufacturers like Tilta or Chrosziel. The FUJINON XK20-120mm PL lens has a ‘universal mount’, and now third parties are offering to adapt the mount from PL to a range of others, a method that is also backwards compatible too. This enables the lens to be used with a native lens mount on the camera, rather than an adapter. Although the mount can be changed at home, DIY style, FUJINON recommend seeking a 3rd party company to undertake this process, as the warranty may void if something goes wrong. Does the FUJINON XK20-120mm price reduction tempt you into purchasing the lens? Do you own the lens, and are looking to adapt the mount? Let us know in the comments.

FUJIFILM is in the process of significantly expanding its range of interchangeable lenses for mirrorless cameras. Next up is the FUJINON XF 8-16mm f/2.8 zoom lens. It is due in November, but some specifications have already been published. Let’s take a quick look at it! The new FUJINON XF lens seems to be a pretty impressive ultra-wide zoom with a consistent f/2.8 aperture throughout its zoom range. Apart from this lens there’s another yet to be released lens: The FUJINON XF 200mm f/2 along with a new 1.4x teleconverter. FUJINON XF 8-16mm f/2.8 This  lens is not quite ready for shipping, yet. But, and that’s part of this post’s purpose: We have a prototype of the lens at the office and certainly will put it through its paces. Until then, let’s look at the specs of this upcoming ultra-wide zoom. First up, this lens sports a FUJIFILM X-mount, obviously. If we want to convert the focal length range to the “normal” 35mm equivalent, we have a zoom range of 12mm to 24mm. The FUJINON XF 8-16mm f/2.8 zoom consists of 20 elements in 13 groups and that includes 4 Aspherical elements, 3 ED (Extra-low Dispersion) elements and 3 super ED elements. The whole thing weights 805g and is 121.5mm long while the lens diameter measures 88mm. Lens elements and rubber weather sealings (shown in green). The iris is made out of 9 rounded blades which can be adjusted in 1/3 EV steps. Minimum focus distance is 25cm, measured from the film plane, so don’t expect a macro lens here. Auto focus is also available, of course and, according to FUJIFILM, it’s high-speed and quiet. Let’s hope it is! There’s also a decent amount of weather sealing going in in this lens, so it seems to be a perfect companion for some serious outdoor shooting. FUJIFILM claims it will be fully operational down to -10°C/+14°F. Pricing This lens is already listed on B&H and as we approach this years November you can get the FUJINON XF 8-16mm zoom for about $2.000. The other new lens, the FUJINON XF 200mm f/2.0, a 200mm prime with an impressive f/2 aperture will be available in November, too. The kit with the lens and the 1.4x teleconverter won’t be cheap: almost $6.000 need to be spend. If you are into video shooting, the perfect companion for these lenses, the FUJIFILM X-H1 mirrorless camera, sells for about $1,650. Links: FUJIFILM Blog | Lens Roadmap Are you a FUJIFILM shooter? Let us know what you think about the addition of this new wide angle lens in the comments below!

Last month we reported about the new Anamorphot 65, an anamorphic lens adapter by SLR Magic that can mount to lenses with 82mm front thread like SLR Magic’s own micro cinema primes and FUJINON’s MK family of lenses. There is also a chance that by the time you read this review, this promising adapter will be available for preorder.  SLR Magic Anamorphot 65 anamorphic adapter on a Sony a7 III camera Nino, my colleague, caught up with Andrew from SLR Magic during this year’s CineGear to discuss the new product, yet it was time to actually test it and put it through its paces. The Anamorphic Lens Routine First thing first: Why should one actually consider “shooting anamorphic”?, well, the answer is clear. If you are looking to mimic the true aesthetic of cinematic looks, then shooting with an anamorphic lens is the way to go. As this is a product review I will not go deep into the subject anamorphic filming, but please consider heading to our cinema5D essentials episode where Li-Lian and I were aiming to explain what anamorphic filming is all about…. Ok, so if shooting with anamorphic lenses has the benefit of producing a unique look, why is it not too widely spread? In short: budget and training. TRUE high quality anamorphic lenses simply coast A LOT, far beyond the budget of most independent filmmakers. There are, of course, ways to track and purchase vintage anamorphic lenses, but this is not too easy. Speaking of anamorphic – I urge you to visit our friend and content contributor, Tito Fernandez’ YouTube channel, where he demonstrates a great deal of knowledge and shares valuable tips for anamorphic lens and adapter lovers. The question remains: If true anamorphic lenses are expensive, what is the next best option? The answer is, “adapters”. The idea of putting an anamorphic lens adapter in front of spherical lenses is nothing new and can actually make a lot of sense, as most of us already own many of those wide spread zooms or primes, so why not make use of those and attach an adapter to them? (I’ll leave this question open, hoping to hear answers from you guys in the comment section below). In the past, I’ve already tested SLR Magic’s entry level anamorphic adapter, the Anamorphot 40 compact adapter, but besides the fun I had exploring shooting in anamorphic, this specific adapter left me feeling that probably, there are no shortcuts when attempting to create a high quality device. SLR Magic Anamorphot 65  The SLR magic Anamorphot 65 The new Anamorphot 65 is a completely different story. First the specs: 1.33x adapter to be used with modern cameras having a 16×9 sensor image size Rear Mounting Thread 82mm, perfect to be attached to SLR Magic Micro Primes, some SIGMA lenses, and the FUJINON MK 18-55mm and 50-135mm Outer 112mm diameter thread for optional filters Outer 114mm diameter barrel for attaching a matte-box Weight: 1.7 lb / 0.78 kg SLR Magic Anamorphot 65 112mm filter thread The FUJINON MK 18-55mm and MK 50-135mm  The above two FUJINON MK lenses were introduced about 2 years ago and since then, managed to capture the heart of many filmmakers. The quality for their price is great and their size and weight is perfect for many shooting occasions. I’ve tested the adapter on the E-mount version of the lenses, but this is the place to remind everyone that FUJINON will soon start shipping their own X-mount version of the lenses, bearing some extra benefits for users, as the lens will be able to communicate with most FUJIFILM camera bodies. Speaking of which, there are modified FUJINON MK lenses to M4/3 mount, so practically speaking, those lenses will fit on Olympus or Panasonic cameras too. The SLR magic Anamorphot 65 was built with both mentioned lenses in mind and I have to admit that mechanically speaking, the fit is perfect. Set your full frame camera to APS-C/Super 35mm option Attaching the Anamorphic Adapter to the FUJINON MK Lens For best optical performance, please perform a lens back focus check prior to attaching the lens adapter to the FUJINON lens itself. Right after, the  procedure of putting the adapter on the lens is fairly easy, although, for whatever reason, it was a bit easier for me to attach the adapter to the FUJINON MK 50-135 than to the MK 18-55. After the attachment, make sure to place your camera and lens/adapter on a flat surface to ensure correct aligning of the adapter and lens. On the camera front – if working with a full frame camera like the Sony a7XX – don’t forget to change to APS-C/Super 35mm in the menu settings. As a side note, it is unfortunate that there is no “de-squeeze” function in those Sony a7XX cameras, as what you see in the LCD/VF is NOT what you get! On the positive side, since the adapter is lightweight, it is possible to work handheld and even without lens support, although if you do have the opportunity to add support, please do so. Photo exported from the timeline. Quality of the adapter glass “off-center” is good too! The SLR magic Anamorphot 65  – Lens Adapter Performance For the last few days I was running around equipped with the Sony a7 III, two FUJINON MK lenses and the adapter. I can report that I liked what I saw, but with some reservations. In terms of which lens to use, the FUJINON MK 50-135 looks to be the obvious choice, as its complete focal length can be used when the adapter is attached to it. The thing is that the starting point of 50mm is too narrow for my taste and in addition, sharp focusing was extremely challenging for me and as a result, much of the footage I took when using this lens, seemed to be a bit off. Now, switching to the FUJINON 18-55mm, it was as if the adapter just got a new life. Although focusing was not always easy, (more about that in a second), the images I was able to capture were simply wonderful. I really like the fact that the adapter is able to keep sharpness almost from edge to edge. So where’s the catch? As predicted, you can not use the complete offered lens focal length but rather a part of it, starting at 30mm – which is almost perfect for anamorphic work. On the narrow side, 55mm is a bit to short, but for planned projects, where you have the possibility to be closer to your subject of interest, it will certainly do. Dual focus necessity. Lens and Adapter. Distance markers are matching The SLR magic Anamorphot 65 – Main Concern So far so good, but as with many other products, there is this little (big) thing that makes the overall user experience, when using the lens adapter, far from being perfect. It’s the double focus procedure necessity, meaning, focusing must be preformed on both, the lens and the adapter itself. The good news are that the marking on both is very similar and as the anamorphic adapter was made with the FUJINON MK lenses in mind, the alignment is perfect, so if your focus mark on the lens is 10ft. just turn the adapter focus ring to the same number value in order to achieve perfect focusing. It’s not that we haven’t seen it before, but in this case it is simply a pity, as it does take time to focus both. Moreover, there is absolutely room for mistakes. I really wonder if it is possible to build a “custom handle” that can be attached to the lens focus ring on one side and the adapter focus ring on the other, in order to simplify the process of focusing. (Sorry, I can’t think of a solution to make the life of focus pullers any easier)… SLR Magic Anamorphot 65 on a FUJINON lens. My favourite is the MK 18-55mm Conclusion This time I’ll base my conclusion on three points: Price, usability and optical performance. Price is a subjective thing. I do think that for what you can get when working with this anamorphic lens adapter, the price is manageable. Usability is were this attachment scores the least. It is the double focus procedure that will slow you down when working and on top, might cause some hesitations when focusing during filming (and lets face it, as the resolution goes up, the days of soft images are numbered)… When it comes to optical performance, I really like what I saw (I especially salute SLR Magic for staying in-line with the FUJINON’s MK lenses’ performance and not choosing to go the “crazy flares” path). The combination of SLR Magic’s Anamorphot 65 together with the FUJINON MK 18-55mm is perfect to use when budget is a concern yet an anamorphic look is desired. Now I just need to invent something to focus both at the same time…. The above video was edited on Adobe Premiere CC latest edition. Shot on Sony a7 III, PP7 (S-Log 2), mostly on 800 ISO, and treated with Film Convert. Music used in the above review is taken from Art-list Music theme: Me and You by Oliver Michael  Do you like the quality of the footage shot with this anamorphic adapter? Would  you like me to upload the anamorphic file for you to download and observe at home? Let me know in the comment section below. 

As we previously announced, SLR Magic, makers of a variety of speciality lenses and adapters, is bringing anamorphic capabilities to the popular MK cine zoom series of lenses from FUJINON. We had a chance to take the SLR Magic Anamorphot 1.33x-65 adapter into the field at Cinegear 2018 and the video and initial impressions are below. First off, if you are looking for horizontal flare characteristics this may not be the adapter for you. The image is clean in general and lights don’t flare to any great degree, but the ability to use your favorite 16×9 sensor to create a anamorphic look should not be discounted. It is worth noting that SLR Magic also thinks the adapter will work with a variety of 82mm threaded lenses, but they haven’t tested all the possible combinations. SLR Magic Anamorphot 1.33-65 Adapter on a FUJINON MK lens To use, simply screw the adapter on an MK zoom and match the focus on both the zoom and the adapter (this takes a bit of re-training your brain) and then you’re ready to shoot. Keeping critical focus can be tricky once you have the adapter screwed on as you won’t be able to tell if your lens or the adapter is soft. To combat this it might be worth using a range finding laser and setting the focus distance manually on the adapter. Of course, this makes pulling focus on quick action a little tricky potentially, but we’ll reserve judgement on that until we have a chance to do a complete review. Like with most anamorphic shooting, you’ll want to de-squeeze your image to properly frame and view your shot with an external monitor. Yes, it’s got a bit more bulk to it when compared with its predecessor: the SLR Magic Anamorphot 1,33x–40 adapter, but that doesn’t translate to being heavy necessarily. We’d still suggest adding lens support though when mounting the adapter to the end of an MK zoom. On the end of our Sony a7 III the zoom and the adapter felt a bit precarious without support. Will this replace a full fledged big ticket anamorphic zoom? No, but with a price tag of $1,500, SLR Magic is adding another capability to the already great MK Series of E-mount lenses and the adapter promises to be a strong entry to the world of anamorphic.

The New SLR Magic Anamorphot 1.33x-65 Anamorphic Adapter was just announced during this year’s Cine Gear, enabling simple conversion of a broader range of traditional spherical lenses into 1.33x anamorphic. SLR Magic Anamorphot 1.33x-65 Anamorphic Adapter and FUJIFILM’s MK 50-135mm lens Anamorphic conversion is widely popular and the name SLR Magic regularly gets mentioned when discussing this subject. Their SLR Magic Anamorphot 1,33x–40 adapter has been out for some time. This adapter offers a simple solution for converting small still lenses into anamorphic lenses (we reviewed it here). The new SLR Magic Anamorphot 1.33x-65 is bigger, adapting to more widely used lenses, and as stated by SLR Magic, was optimised to work with FUJINON’s MK range of zoom lenses. SLR Magic Anamorphot 1.33x-65 Anamorphic Adapter in a Nutshell This screw on anamorphic adapter that is meant for existing spherical lenses was developed to fit and work well with FUJIFILM’s MK series and SLR Magic’s own micro primes (Just to name a few).  It accepts bigger lenses than the already existing SLR Magic adapter. (82mm front thread, up to 65mm front diameter). The Adapter has a 112mm screw front with 114m clamp on the front for universal mattebox compatibility and a front thread that will alternatively allow the use of screw in filters and diopters. The adapter has a separate focus ring, so dual focus operation is required. SLR Magic Anamorphot 1.33x-65 Anamorphic Adapter How Does it Work? For those who don’t know how an anamorphic adapter works: the SLR Magic Anamorphot 1.33x-65 is a lens adapter that screws directly onto the front of your existing lens (the receiving lens). The receiving lens needs two meet two reuirements  for compatibility – It has to have a 82mm front diameter thread and the front glass element should have a diameter which is no greater than 65mm. The adapter then converts your image by a factor of 1.33x – which, when coupled with a 16:9 plane, equates to the popular 2.35:1 aspect ratio. 1.33x versus 2x What is good about a 1.33x anamorphic adapter is that it works on 16:9 sensors – it is therefore much more compatible. 2x anamorphic needs a 4:3 sensor to work ‘properly’ (there’s a way to work around, but in general, this is the requirement). 2x is more traditional and applies more stretch to the image; therefore some aesthetics related to anamorphic (such as oval out of focus detail) is more apparent. Focus Ring Similar to some other anamorphic adapters, the SLR Magic Anamorphot 1.33x-65 has its own focus ring. Whilst the Anamorphot 1.33x-40 only had a two-setting ring  (general use and macro), this one requires constant focus adjustment like a normal lens, meaning you have to adjust the focus on both the anamorphic adapter and the receiving lens, making it possibly tricky to track focus during takes. For anyone familiar with anamorphic adapters, dual focus rings aren’t uncommon. Like with many cost-effective solutions, there are often drawbacks, but we were told by SLR Magic that they worked hard to improve focus adjustments on the adapter itself, with calibrated and accurate focus markings, minimizing the need to “guess” where the optimal focus position is in correspondence with the taking lens. FUJINON Collaboration Naturally, SLR Magic state that their new Micro Primes are the perfect match for the SLR Magic Anamorphot 1.33x-65 anamorphic adapter, but rather surprising, is the additional collaboration with the lens manufacturer FUJINON. “We are proud to announce that we have collaborated with FUJIFILM, and optimised this new adapter for their ever so popular MK range of zooms, namely, the Fujinon MK 50-135mm T2.9… When mounted on a FUJINON MK 50-135mm, the integration of the adapter to lens appears like a singular unit.” Specification SLR Magic Anamorphot 1.33x – 65 Lens Type: Anamorphic adapter Front thread will allow the use of screw in filters and diopters Front diameter for Matte Box: Φ114 Objective front filter thread: Φ112 Objective rear filter thread: Φ82 Lens Coating: Multi Coated Close Focus: dependent on receiving lens compatibility (4 feet when using the FUJINON MK lenses) Weight (oz./g): 780g I’m very keen on trying this new product. I have a decent amount of experience with SLR Magic’s anamorphic products and by collaborating with FUJINON I am hoping to see a matured, high quality adapter that can produce great looking images. Pricing and availability The Anamorphot 1.33x-65 anamorphic adapter will cost $1,499 and be available at the end of June. SLR Magic special offer for Cine Gear 2018 SLR Magic is currently offering a trade-in price program for SLR Magic Anamorphot customers and early adopters for a limited time only. You can email them directly for more details and eligibility. Nino is currently in L.A , covering Cine Gear, so expect a short hands-on review here at cinema5D soon. A more in depth review featuring the new SLR Magic adapter together with a FUJINON MK lens will be published towards the end of June. What are your thoughts about the new Anamorphot 1.33x-65 anamorphic adapter. Will you consider buying it together with a FUJIFILM MK lens and a Sony a7X camera in order to create an affordable anamorphic working solution? Share your thoughts with us in the comment section below.  

Chrosziel has released a family of devices that brings servo capabilities to the FUJINON MK, FUJINON ZK, and Zeiss LWZ 3.0 lenses. We went hands on with the Chrosziel Compact Zoom Control Kit  at NAB 2018 and we found that it turns great cine zooms into run and gun ENG shooting machines. Details below:  It’s a common scenario. You buy a great cine zoom and find it excellent in narrative and other controlled environments, but when it comes to the unpredictable world of documentary shoots things start to go downhill. Having to reach for the cine lens zoom ring while taking your hand out of position on the shoulder rig is a recipe for disaster when it comes to following quick unpredictable action. Oh, and forget about zooming and focusing at the same time with a shouldered camera that doesn’t have a servo. Chrosziel has developed a solution. The Chrosziel Compact Zoom Control Kit, powered by D-Tap and controlled through LANC connections, converts your FUJINON MK (18-55 and 50-135mm) or ZEISS LWZ 3.0 lens into something more akin to the pricier 19-90 FUJINON Cabrio, or 17-120 Canon, at least in terms of operation. If you are using a  ZEISS LWZ 3.0 lens, Chrosziel offers the CDM-LWZ3-Z zoom servo drive. For those working with a 20-120mm FUJINON Cabrio the CDM-XK-Z zoom servo drive may come in handy. Calibration of the beginning and end points on the zoom ring are automatic once you’ve attached the device to the lens with four included screws. Installation is fast and it takes under a minute to affix the unit to the LWZ 3.0. Especially designed with the FS5 and FS7 in mind, the Zoom control kit has a very low profile and doesn’t extend out from the lens to any great degree. It’s also light — weighing in an slightly over half a pound (0.65lb). I’ve seen attempts to add servo capabilities to cine lenses in the past and they’ve been much bulkier. The Chrosziel team also mentioned at NAB that they are meeting with multiple lens manufacturers in a quest to bring their servo zoom kit to other cine lens brands. At a price point of $1726.00, this is a solution that seems well priced and dramatically expands the capabilities of your existing camera setup. The MK series zoom control kit is currently shipping and the kit for the Zeiss LWZ 3.0 is available for pre-order and shipping soon.  More information on the Chrosziel Compact Zoom Control Kit is HERE.

During my latest visit to Japan I was lucky enough to be the first journalist who was allowed to independently film at SIGMA’s Art and cinema zoom lenses production factory. I hope you will enjoy this short video, as I was trying to make you guys feel as if you were visiting the factory together with me. It was the beginning of March and my request to visit SIGMA’s factory was answered positively. Shinji Yamaki-san at SIGMA was kind enough to pick me up and travel with me to Aizu where SIGMA’s factory is located. The almost four hour journey was extremely enjoyable, as it gave me a chance to talk and get to know Shinji-san, eat the best soba I ever had, while changing trains and witness how the sunny weather in Tokyo was changing to a white snow blanket as we headed north. Together with Kazuto Yamaki-san At arrival, I was greeted by Kazuto Yamaki-san, SIGMA corporation CEO. For those of you who are not familiar with SIGMA’s history, I’d like to mention that Yamaki-san took over the company during the beginning of 2012, after his father – who founded the company during 1961 – had passed away. During the short presentation I got from Yamaki-san before heading to our joint factory tour, he mentioned that SIGMA is currently employing 1600 people, while 1400 of them are working in the factory I’ve visited. As Yamaki-san stated, SIGMA’s biggest asset is its hard working people. Their level of dedication and care for details was clearly visible throughout my two day visit. I’ll leave you with the images I took, but would like to mention again that my respect goes to the people behind manufacturing the equipment we use! A special thank you to Kazuto Yamaki-san and Shinji Yamaki-san for being responsive and welcoming making this tour possible! Please share with us, if you are interested in seeing more “Behind the Scenes” of companies that are part of our filming industry.

The recently announced Fujinon MKX T2.9 cine lenses come with unique features for Fujifilm camera owners. We looked into them more closely … The E-mount versions of these MK lenses have been a big hit with cinematographers. But this is about more than just a simple mount change. When pairing these new cine lenses with Fujifilm X Series cameras, such as the new X-H1, the electrical contacts on the lens pass data to the camera. This allows the the camera to correct lens distortion as well as colour and brightness shading. Lens Data The lens data passed to the camera includes iris (T-stop) data, as well as focus distance and zoom information. As well as the obvious benefit on seeing this information displayed on the cameras LCD monitor, it also apparently allows for improved white balancing. We will be reviewing these two new lenses soon, so it will be interesting to see how this innovative feature works. The Fujinon MKX 18-55mm will retail for $3999. The Fujinon MKX 50-135mm will retail for $4299. As a recap, here are the main features of these two lenses: Fujinon MKX 18-55mm T2.9 & Fujinon MKX 50-135mm T2.9 Use an optical construction comprising 22 glass elements in 17 groups, with six super ED lens elements and two ED lens elements (two super ED lens elements and two ED lens elements for the 50-135mm). T2.9 aperture across the entire zoom range which facilitates the increasingly popular style of bokeh effect with shallow depth-of-field. This also eliminates the need to re-adjust lighting, contributing to shortening shooting time. The MKX lens achieves advanced optical performance despite its compact and lightweight body by incorporating the benefits of short flange focal distance of X Mount into optical design to the maximum extent. This accommodates shooting with a limited number of people. Do you own a Fujinon X Series camera? Do you think these new MKX lenses will make for a compelling, light-weight, documentary setup? Let us know in the comments below.