February 16, 2017 at 8:40AM, Edited February 16, 8:42AM
Fujinon Cine Cabrio Zooms: More than a Convertible, an Off-Road
Hi there, I hope you'll forgive the delay in issuing this post, but I've been shooting a documentary feature about the Eastern celebrations of southern Spain and I've been busy until tuesday. Nevertheless this shooting has given me an interesting angle for this post: the producer were 100% positive about the resolution they want to shoot (UHD) so they went for two Sony FS7. About the glass, they wanted a cinematic look (since the feature will be screened in theaters) but they didn't want to give up the ENG run-and-gun style their operators were used to. Plus, since we were a small crew, to have the lightest equipment possible was a key point. So they chose the Fujinon Cine Zoom Cabrio 19-90mm and 85-300mm, which I had never used before. I did have used the "bigger brothers" of the Alura series, usually in features films along with Master prime lenses.
Everytime I shoot with zooms I recall a little story a very experienced dop told me. The guy worked in France from the 60s until now, and was the dop of almost every director of the Nouvelle Vague. He personally knew mr. Angenieux who used to invite him to test every new zoom he produced. According to the dop, mr. Angenieux was always saying :"I can't understand why people keep on shooting with prime lenses, now that zooms have achieved such a great optical quality... You'll see that in one year or two everybody will shoot just with zoom lenses, there's only one crazy guy in Germany who keeps producing prime lenses, but I'm sure he will soon be bankrupt" That guy was Carl Zeiss.
Back to the topic, this fujinon zooms has some undeniable pros, which I'm going to resume here. Since I'm not a dop, my evaluation will be only from an AC's point of view, even though I'm trying to arrange a comparation between prime lenses and zooms, which I hope will be the subject of one of my next posts...