[ARRI PL] Wow... what a great lens! At this price point you won't need anything else.

[Yes] 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!

[ARRI PL] 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.

[46.3 mm] still lenses are very frustrating to go back to after using this lenses

[46.3 mm] still lenses are very frustrating to go back to after using this lenses

[Large Format] It is very good I like it .

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

[T22] 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!

[80 to 250mm] Awesome!!!

[T22] Went ahead and grabbed this plus the 50-135 shortly after they were both released and all don't regret it at all. �I saved this review until I got at least 100 hours out of the lenses and here I am- and have not been disappointed. �Incredibly sharp, hits critical focus points and holds them, the ease of swapping lenses without moving gears around is beautiful, the macro is amazing and incredibly useful, and being par focal is something that really takes these over the top.

Obviously, they aren't going to compare to some other high-end zoom lenses, but when they're 1/3 of the price, with 2 lenses covering focal lengths of 3-4 other lenses, worth every penny.