A number of months in the past I used to be in Alaska taking pictures a documentary (which will probably be launched sooner or later, I swear!) at the Fujifilm Eterna 55 digital camera, and discovering appropriate lenses was once certainly one of my greatest struggles.

The Fujinon Cine Zoom GF sequence of lenses would have addressed maximum of my complications in the event that they had been to be had then. Smartly, no longer most effective is the 32-90mm T3.5 same old zoom to be had, however I used to be additionally ready to check the brand new 19-35mm T3.5 ultra-wide zoom ($5,995 each and every). Those lenses may single-handedly make the Eterna 55 a a lot more compelling digital camera if they are able to ship the products. So, do they?

What makes those lenses so particular? First off, the mount. Those are GF-Mount most effective lenses, this means that the one cinema digital camera these days to be had that they are going to mount to is the Eterna 55. That digital camera has an excessively massive and uniquely tall sensor, so quite few lenses will quilt it. Those zooms will, even if recording the entire 44x33mm space in Open Gate. Giving an similar box of view and intensity of box of a 15-28mm f/2.8 and 24-70mm f/2.8, those GF lenses will quilt an enormous vary of use circumstances. Additionally, whilst those appear to be same old cinema zoom lenses, they’ve all of the newest generation we see in Fujifilm’s photograph lenses, together with autofocus, optical stabilization, and climate sealing.

Importantly, those are matched lenses with just about an identical weight (2,100 grams for the 19-35mm and a couple of,115 grams for the 32-90mm) and design. If utilized in a rig, the lenses will also be simply swapped with out readjusting equipment just like the observe concentration module.

Fujinon GF 19-35mm and 32-90mm T3.5 Evaluation: How Do They Really feel?

The design is precisely what you’d be expecting from a Fujinon cinema lens. We’ve geared iris, zoom, and concentration rings. There could also be an incorporated however removable lever for the zoom ring. I really like that the aperture will also be set to computerized or locked so it may be managed from the digital camera physique. The entrance component has an excessively massive 111mm clear out diameter, so that you’ll want a considerable matte field to hide it. On the backside of the lens is a three/8 mount for at once mounting a lens enhance.

There are a number of toggle switches at the barrel, beginning with one to allow OIS (optical symbol stabilization). That is particularly essential for Eterna 55 customers, as that physique does now not be offering in-body symbol stabilization (IBIS). There’s a massive zoom rocker which permits servo zooming of the lens with out attaching a motor. Extra on that during a little bit. Sitting slightly under is the strategy to have both the zoom or concentration serve as in “M” mode, or through manually twisting the lens, or in “S” for servo, which allows autofocus, or the aforementioned servo zoom rocker. Confusingly, when both of the switches is ready to “S,” it ignores the present settings at the lens itself. I discovered this slightly jarring when a snappy have a look at the bodily dials didn’t
constitute what the digital camera was once if truth be told recording.

Fujinon GF 19-35mm and 32-90mm T3.5 Evaluation: How Do They Shoot?

The very first thing I sought after to check was once the efficiency of the guide concentration ring, as traditionally autofocusing cinema lenses have had a sloppy, gradual really feel that makes pulling concentration very tough. At the Cine Zooms GF lenses, although, it felt such a lot like a routinely coupled lens that PetaPixel‘s Chris Niccolls was once to start with unaware that this was once focus-by-wire. Along the lately launched Sigma Cine AF zooms, this means that trendy linear motors are ready to triumph over the former barriers of focus-by-wire lenses, equipped they’re designed to take care of it.

With regards to respiring (which is the place the sphere of view adjustments when concentration is shifted dramatically), I used to be very happy with the effects. The nineteen-35mm reveals some very minor respiring with excessive concentration pulls, however the 32-90mm confirmed slightly any perceptible exchange. That is extremely spectacular.

Flare could also be price trying out on cinema lenses, and lots of cinematographers desire a little bit of distinction loss and ghosting when vibrant gentle resources hit the entrance component. Those Fujinon lenses hit a center flooring with regards to flare traits, which I discovered very satisfying. There may be unquestionably a lack of distinction round vibrant gentle resources and small cases of ghosting, however most effective sufficient so as to add a little bit of personality, by no means sufficient to distract from a shot.

Bokeh on either one of those lenses is solely very good. There’s a identical clean rendition of specular highlights, with a minor cleaning soap bubble impact and nearly no onion rings. Extra importantly, backgrounds and foregrounds dissolve in a ravishing abstraction which seems nice when pulling concentration.

With regards to sharpness, I sought after to check those lenses at complete decision at the GFX100 II stills digital camera. Whilst these days the Eterna 55 can most effective seize the entire space of the sensor in 4K, destiny digital camera fashions will unquestionably fortify in this, so I sought after to look how nicely they resolved in 102 megapixel photograph mode.

The efficiency was once just about an identical in spite of the lens and focal duration examined. The middle of the picture is slightly sharp huge open, however does receive advantages moderately when preventing down, although I feel this could most effective be noticeable with 8K recording. Stopped all the way down to T8, the picture is tack sharp even if taking pictures high-resolution pictures. On the excessive edges of the 4:3 side ratio Open Gate body, there’s a distinct softness to the picture; on the other hand, preventing down once more offers very good effects.

I additionally sought after to have a look at the corners in a 16:9 body, and there they fare moderately higher huge open, however nonetheless receive advantages when preventing down. Mainly, I feel you’ll shoot those lenses huge open at any focal duration for 4K recording and be rewarded with cast effects. Alternatively, in destiny fashions which would possibly be offering 8K or upper open-gate recording, preventing down will probably be really useful to seize the utmost quantity of element, particularly within the corners.

It’s additionally price noting that the present Eterna 55 and GFX 100 II have an important 1.51x crop issue when recording 8K, and the picture high quality on this portion of each lenses is superb.

The final matter price relating for symbol high quality is whether or not or now not those lenses are parfocal, that means the focal point does now not shift when zooming the lenses. What Fujifilm appears to be doing this is electronically adjusting the focal point whilst the lens zooms to stay your matter in concentration. Sadly, it isn’t slightly responsive sufficient to stay the topic sharp whilst the lens is zooming. This implies a zoom mid-shot would possibly pass out of concentration, even if concentration has been as it should be set, however go back to concentration on the finish of the zoom. Necessarily, videographers and cinematographers can reframe between pictures with out being worried about concentration shift, however I might counsel towards zooming mid-shot. This significantly affects the usability of the servo zoom capability, sadly.

The Eterna 55 Makes A Lot Extra Sense Now

When taking pictures with Fujifilm’s first cinema digital camera, settling on lenses was once an actual combat. I may use GF mount photographic lenses which absolutely lined the sensor however had dismal guide concentration dealing with, or use cinema lenses that would infrequently quilt that large sensor. The Fujinon Cine Zoom GF fashions deal with this worry and accomplish that with lens designs in a position to developing really pretty photographs.

Extra importantly, those display Fujifilm’s determination to cinema cameras shifting ahead. If the corporate was once simply trying out the water with the Eterna 55, there’s no approach they’d pass to the fee and expense of growing a couple of cutting-edge lenses like those. I’m simply hoping we’ll see a telephoto zoom in a while to finish a GF-mount cinema lens trinity.

Are There Choices?

No. Not anything else available on the market will quilt the giant sensor of the GFX and Eterna 55 digital camera whilst nonetheless providing autofocus, stabilization, climate sealing, {and professional} guide controls as nicely. Fortunately, in spite of totally cornering this marketplace, Fujifilm isn’t requesting an enormous funding for both of those lenses: $5,999.99 is beautiful affordable given the efficiency, particularly taking into account what even full-frame or Tremendous 35 cinema zooms can price.

Must You Purchase Them?

Sure. If you’re already invested in or are having a look at a Fujifilm Eterna 55, those lenses are absolute prerequisites and quite reasonably priced taking into account what they provide. If you’re a cinematographer making plans to make use of GFX our bodies for his or her massive sensor aesthetic, those can even make your existence a lot more uncomplicated. The optical efficiency additionally displays those must be quite future-proof as Fujifilm’s cinema experiment progresses.