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The Fujinon MK18-55mm T2.9 Lens is a lightweight cine-style zoom lens for MFT mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine-style lens accessories. The focus ring features approximately 200° of rotation, which provides room for precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens also incorporates a macro mode for close focusing capabilities.
The lens is color matched to other Fujinon lenses such as the HK, ZK, and XK series, which enables smooth intercutting between lenses. The 85mm front thread enables use with many cine-style matte boxes via use of optional step-up rings (rings not included). The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range. It is designed for camera's with an MFT mount, so it has a short flange focal distance, but the lens allows for flange focal distance adjustment so you can fine tune it to the camera you are using the lens on.
- Covers Super 35 Format
- MFT Mount
- Consistent T2.9 Aperture over Zoom Range
- 3 x Standard 0.8 MOD Gears
Fujinon MK18-55mm T2.9 Overview
Fujinon MK18-55mm T2.9 Specs
| Focal Length | 18 to 55mm |
| Lens Mount | Micro Four Thirds |
| Lens Format Coverage | MFT |
| Image Circle | 28.5 mm |
| Maximum Aperture | T2.9 |
| Minimum Aperture | T22 |
| Minimum Focus Distance | From : 2.8' / 0.9 m |
| Diaphragm Blades | 9 |
| Gear MOD & Pitch | Focus: 0.8 MOD / 32 Pitch Zoom: 0.8 MOD / 32 Pitch Iris: 0.8 MOD / 32 Pitch |
| Front Diameter | 85 mm |
| Filter Thread | 82 mm |
| Focus Scales | Metric, Imperial |
| Focus Rotation | 200° |
| Zoom Ratio | None |
| Image Stabilization | No |
| Lens Support | Lens Support Foot |
| Length | 8.12" / 20.62 cm |
| Weight | 2.16 lb / 980 g |
| Package Weight | 4.25 lb |
| Box Dimensions (LxWxH) | 13 x 7.25 x 6.5" |
Fujinon MK18-55mm T2.9 Reviews
Extremely versatile lens
I have two of these as I purchased a second for a second Komodo. The look is very cinematic with a very nice balance of sharpness. Not overly sharp and not overly soft. Just a good balance between the two. The macro function and back focus ring are absolute bonuses. This lens is very fast to dial in and not overly heavy. The best thing about using this with the 50-135 is that they are both identical weight and size which makes switching between them a breeze.
Exactly what I expected
I bought both the 18-55 and the 50-135. I got exactly what i paid for and I am pleased. They are both excellent lenses, they have their shortcomings but they aren't $14k Angenieux lenses either. They are great budget lenses that give expected results.
amazing lens
incredibly sharp for a zoom, very nice bokeh and parfocal. i used it for a network documentary shoot in 4K. LOVED it!
The Only Lens You Need for Pocket4K or GH5
I just received my 18-55 and promptly put it to use on an 8 day studio/location shoot. I really love it and now I'm selling off other lenses. The 35-105mm FFE range on a MFT sensor is amazing. I can shoot almost everything on that range in studio or for doc work. The only watchout is flaring. Beautiful when you want it, but you better have a mattebox for when you don't. The lens hood doesn't help much. The be exact, I don't think it really flares, it's actually veiling instead of lots of little circular flares. Now if they would come out with a Canon mount version, I'd buy both instantly to use with a C300, C200, or Ursa.
Amazing Lens
Amazing
Top-notch cine zoom
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.
Excellent Lens for Super35 sensor
After using this for a few months, I can say that it was well worth the purchase. Very sharp, good color and contrast, and good separation from the background. I rarely need the zoom capability (but I do need the ability to change focal length quickly), but when I do, it has to be good - this lens stays in focus throughout the zoom. The 200 focus throw makes nailing the focus very easy. Yes, it's plastic but that is the point. It's pointless to compare this to high-end zoom like Angenieux, Arri, Zeiss, etc. Fujifilm intended to make an affordable cinema zoom, addressing the market where DSLR lenses tend to be used. They used their Cabrio line as a performance reference point, and they really delivered. I most often use this in the studio with a teleprompter, and it is a breeze. I pair this lens with my Sony FS5 - a perfect match for what I do. You really do get high-performance with low-cost.
not pro build quality; and expensive repair
It's no beauty, but it's small, light, has a clean look and works really well for doc and reality work. But after four years, it developed a back focus issue that's ... yikes! ... $800 (plus tax and shipping) to repair, with no offer by Fujinon to cover any of it. I've been in this biz for a long, long time and I know how to care for gear. For a lens that didn't see much run-and-gun work and spent most of its life in a posh peli penthouse and occasional studio and indoor location work, I expected better. I'd consider this a consumer lens that's not ready for professional use.
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