Fujifilm FUJINON MKX 18 55mm T2 9 Bewertung | 54 Daten im Vergleich

The Fujinon MK18-55mm T2.9 is a lightweight, compact cine lens designed for Super 35/APS-C sensors, offering professional features like a parfocal design, no focus breathing, and smooth manual focus for indie filmmakers. Tested on a Sony FS7, it provides excellent optical performance with a consistent T2.9 aperture, a close-focusing macro mode, and a user-adjustable flange focal distance, making it ideal for run-and-gun production. On the downside, the lens is limited by its Sony E-mount (initially) and lack of full-frame coverage, which can cause vignetting, according to the DPReview article. Optically, it exhibits noticeable barrel distortion at the wide end, and the $3,799 price, while low for cinema glass, represents a significant investment over traditional stills lenses.

The Fujinon MK18-55mm T2.9 and MK50-135mm T2.9 are lightweight cinema zoom lenses built exclusively for Sony E-mount cameras with Super 35 sensors, priced at $3,800 and $4,000 respectively. Testing confirms that both identical-weight lenses are true parfocal, flawlessly holding focus throughout their zoom ranges, and they present zero focus breathing at any focal length. They feature standard 0.8 MOD gears, a clickless nine-blade iris, a 200-degree focus rotation, and a helpful macro mode engaged via a toggle switch. In field tests on a Sony FS7 II, the lenses delivered an overlapping focal range that is highly convenient for multi-lens workflows, producing sharp images with a pleasing texture to the background blur. The core advantages of this lens duo include a compact design, excellent color matching between units, a consistent T2.9 maximum aperture, and a very competitive price point compared to high-end alternatives like Zeiss. However, the reviewer highlights notable limitations, specifically their physical incompatibility with full-frame camera systems and their exclusive restriction to the Sony E-mount platform. Additionally, shooters will need to invest in and carry both lenses to adequately...

The No Film School review praises the Fujifilm MK 18-55mm T2.9 cine lens for bringing professional, high-end cinema mechanics—including true parfocal design, lack of focus breathing, and constant T2.9 aperture—to indie filmmakers at an accessible price point. Optically sharp with excellent flare resistance, the lightweight lens features smooth, well-weighted gear rings and a 200-degree focus rotation suitable for solo operators. Conversely, key cons include the initial exclusive Sony E-mount design and the lack of electronic contacts for autofocus, stabilization, or iris control. Additionally, the lens is restricted to Super 35mm/APS-C sensors, and while generally robust, it features some plasticky components in the macro adjustment switch.

The ProVideo Coalition review by Adam Wilt praises the Fujinon MK18-55mm T2.9 E-mount cine zoom as a highly affordable, fully manual, and mechanical 3x lens designed for Super35mm/APS-C sensors. Priced at $3,799, it inherits broadcast features like field-adjustable back focus and a built-in macro mode. The major pros highlighted include its superb 4K optical performance edge-to-edge, its true parfocal design that perfectly holds focus when zooming, and its minimal lens breathing during focus pulls. It features standard 0.8 pitch cinema gearing on the focus, zoom, and iris rings, all beautifully damped with consistent drag. Additionally, the focus ring offers a generous 200-degree rotation and dual metric/imperial distance scales, while its lightweight 1 kg polycarbonate body makes it excellent for gimbals and fast-paced shooting. YouTube · On the downside, the reviewer notes a few cons, specifically noticeable barrel distortion at the wide end that rapidly transitions into pincushion distortion around 30mm. There is also considerable corner darkening (vignetting) of over a stop when shooting wide open at T2.9. Operational cautions include a complete lack of electronic metadata communication, autofocus, power zoom,...

The Fujinon MKX 18-55mm T2.9 and 50-135mm T2.9 cine lenses introduce highly specific data-sharing advantages tailored explicitly for Fujifilm X Series camera bodies, moving beyond a simple physical mount adaptation. Thanks to specialized electrical contacts, these lenses pass real-time focal distance, zoom position, and T-stop iris data straight to the camera monitor. This close communication enables the Fujifilm bodies to automatically execute digital lens distortion corrections, handle color shading, stabilize brightness shading, and even optimize white balance adjustments dynamically during shooting. Built around an advanced optical structure using numerous super ED and ED glass elements, both compact lenses maintain a fast T2.9 aperture throughout their entire focal ranges, eliminating the need to adjust lighting setup values mid-scene. Evaluating the pros and cons highlighted in the review reveals distinct operational trade-offs for filmmakers. On the positive side, the standout pros include a constant T2.9 aperture for clean, shallow depth-of-field bokeh and a lightweight, streamlined design perfectly suited for limited-crew documentary operations. Furthermore, the electronic integration significantly cuts down post-production time by correcting shading and distortion directly in-camera. Conversely, the primary cons...