[8.8 lb] I'm a life long photographer, but I'm new to video. In the world of photography I was a firm believer in only using the best primes - Zeiss and Schneider. There's no way I'd ever consider a zoom. Having just purchased a RED Komodo, I wasn't in a place to buy a full set of cine primes. After months of agonizing over my options, I purchased this lens and the matching 18-55.
Wanting to get a feel for the quality differences, I tested all my still-primes against the pair of FUJIs. I used a Zeiss back-focus target and tested all the lenses at f5.6 under controlled lighting. I exported frames from Premier Pro after applying a standard DCI LUT.


I'm not an expert at optics and I'm still trying to get my head around R3D (RED's raw format) and LUTs, so all I can give is my subjective opinion, which is ...
Shockingly, the FUJI zooms looked as good as or better than the primes! It seems to me that the 50-135 did just a little bit better than the 18-55, but it really comes down to splitting hairs.


While I could still use by photo-primes (because I'm old-school like that), the zooms give me (obviously) more flexibility. These cine-lenses have a number of other advantages over my ZEs and Schneider PC/TS lenses:


No focus breathing. Some of my primes have a noticeable shift in focal length when when changing focus.
Then lens bodies don't move when zooming or focusing. There's no way to use a follow focus on my ZE 135 Sonnar, for example.
Marking are on the side of the lens not the top, which makes follow focus much easier.


In addition, the FUJI lenses are parfocal, which is super nice. Plus they have a facility for Macro that I haven't yet explored. Because these lenses are native RF (thanks to the smart folks at Duclos), you don't even need an adapter!

[ARRI PL] Its just the combination of build quality, image, range, T-stops and price. Cant find a cheaper lens with that zoom range while keeping this great Japanese quality. Lens for decades.

[Super35/APS-C] I really believe this is a difficult lens to review.... Hits the price point where DSLR shooters are interested, but also experienced DoP's using Cabrio's and Large PL cinema zoom lenses are interested too. If you're use to SLR glass, this can introduce you to the convenience of a cinema built lens. A DoP would say this lens fall short of its higher end accessors.

Using lenses in both production realms, I found a great nitch for this lens. This lightweight Fuji works perfectly on my Movi Pro paired with an FS5 and F55 (with Duclos adaptor.) Extremely sharp glass. Would say my only complaint is that it does flare quite a bit. Have to control that.

Now with the native E-mount Sony Venice released, I'd love to see them release a full frame version of these lenses. Keeping them lightweight and cost effective would eat up that market space. Nice work Fuji.

[14.4 x 9.9 x 9"] Awesome!!!

[14.4 x 9.9 x 9"] Great lens that covers a huge range at a descent T-stop. Matches other Fujinon lenses.

[M111] I have had this lens for a few months now and I have not regretted purchasing it. We have been using it regularly on a BMD PCC4k as part of a six-eight camera video production routine. The images are stunning, and noticeably better than any low budget cinema glass (Rokinon/Samyang) or even mid-budget photographic lenses (Sigma ART, ZEISS ZE). You will instantly feel familiar and comfortable with the look which is not sterile, overly sharp, or video-like. Parfocal feature is fantastic, zoom and focus is very smooth, color rendition and contrast seems true. Minimal breathing and beautiful bokeh. Some reviewers seem to be put off by the use of some plastic in the manufacturing of the lens case. To me it does not feel cheap and I really appreciate the light weight that is achieved in this way. I would say that this lens (and it's 18-55mm cousin) are the perfect complement to the PCC4k. Rent it once to try it out. I think you will love it!

[T2.9] still lenses are very frustrating to go back to after using this lenses

[ARRI PL] I was able to demo this lens, and I have to admit it's pretty sweet! It is larger than I had expected but it becomes a mute issue when you see the images. Parfocal errors are undetectable. The available zoom control motor makes it a perfect solution for my Sony PMW-F5.

[T2.9] I've used this lens on a variety of shoots, and it's incredible. Very lightweight. Relatively low profile. Very smooth focusing with zero breathing. Some people have bashed it for being a T2.9. If there's a person in the world who can run-and-gun a doc shoot at T1.4 without a focus puller, AC, etc., then I want to meet that person post-haste and get some tips. For the rest of us mortals, T2.9 will do just fine. Especially if you're filming with an Fs5 or 7, which are already great in low light as it is. I always love the question in Q&A's, How did you make it so both people are in focus at the same time. Try stopping down to 4.5 or 5.6. That's where this lens gets awesomely sharp, and pulling focus is a total breeze as a one-man-band.

It's not for everyone. It's definitely a lower-contrast lens, a look that I happen to like, but looks different than Zeiss CP glass (or the 21-100 Zeiss zoom). The bokeh is beautiful on the MK. Even though having to change lenses (and buy the other) is a bit inconvenient, they're par focal, which makes things easier, and they're extremely light-weight, but seem to have good build quality. I rented, didn't purchase, so it's hard for me to comment on long-term durability. For what I do, higher-end documentary features and shorts, this lens is perfect.

[T2.9] AWESOME. AMAZING. THANK YOU FUJINON. THATS IT. NO NEGATIVE COMMENTS HERE. BEST MONEY I HAVE SPENT ON MY KIT SO FAR.