Fujifilm Aims at Indie Market with New MK Cinema Zooms for Sony Cameras

With the emerging cinematographer in mind, the new lightweight Fujinon MK zooms are here.

Fujifilm is known for its well-built, high character X-mount and G-mount lenses that are beloved by many still photographers around the world. Recently, the optical division at Fujifilm has been hard at work trying to develop a product for up-and-coming DPs and cinematographers.

The answer: the company's first ever native E-mount lenses, the Fujinon MK 18-55mm T2.9 and the Fujinon MK 50-135mm T2.9.

Clearly designed as workhorse lenses, the 18-135mm range covers most needs for professional work.

We've got a review of the lens up, and you can peep the first footage from Phillip Bloom with the 18-55mm (and his BTS video here):

Clearly designed as workhorse lenses—lenses you won't often need to change or take off your camera—the 18-135mm range covers most needs for professional work. Though these lenses are unquestionably functional, their success will depend on how they stack up optically and subjectively. (Stay tuned; we'll have an in-depth review of these on No Film School later today.)

The MK 18-55mm T2.9 will be available in early March. The next lens in the series, the MK 50-135mm T2.9, will be available this summer. FujiFilm is also currently developing X-mount versions of these lenses.

Tech Specs for MK 18-55mm:

  • Sony E-Mount for Super 35mm / APS-C sensor
  • Plastic body (to save on weight)
  • T2.9 across the line
  • Parfocal (maintain focus throughout zoom)
  • Reportedly "no breathing" or zoom shift
  • 200-degree focus rotation
  • Easy Backfocus adjustment feature
  • Macro mode
  • Weight: 980g / 2.16lbs
  • Minimum Object Distance: .85 meters / 2.78ft
  • 0.8M gear pitch (standard)
  • $3,799
  • Available early March

Check out our review of the Fujinon MK 18-55mm T2.9 here.

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Your Comment


I have to say, even though it's plenty sharp, I don't really care for the bokeh in the Philip Bloom test up here, especially on the wide end. Seems very "busy". In fact it reminds me a lot of my Canon 17-55 f2.8. Of course, that lens breathes, has no focus throw and is built like a toy, but even so it has IS over the Fujinon...

February 22, 2017 at 7:49AM


Agree. Straight away I was taken out of the image by that bokeh. Looks 'bitty'.

February 24, 2017 at 3:31AM, Edited February 24, 3:31AM


The most annoying part of the good story: It as a stupid E-mount.
Fujinon, why?!!

An E-mount lens can only be mounted to Sony cameras.
No Canon, no MFT, no Nikon. Fujinon loses 3/4 of the market.

Why you did not choose Nikon mount which is the most versatile mount?
Fujinon, I don't get you.

February 22, 2017 at 9:45AM, Edited February 22, 9:50AM

Steadicam Operator/Owner

I don't know anyone shooting Nikon that would be interested in this lens...I could imagine a Canon mount but these lenses appear targeted at FS7 and FS5 shooters who haven't gotten a lot of lens love.

February 22, 2017 at 10:52AM, Edited February 22, 10:52AM

Jeremiah Kuehne

I own a lot of Zeiss lenses. All of them with Nikon mount for a simple reason: This allows me to use the lenses on all brands.

For example:
- Canon (via Novoflex adapter)
- Sony (via Metabones adapter)
- MFT (via Metabones adapter)
- Nikon (nativ)

February 22, 2017 at 11:57PM

Steadicam Operator/Owner

It seems like they are targeting a different market than you are in.
There is a growing and strong market segment in the Sony E-mount cameras.
A6500, A7SII,FS5 and the FS7.

Unfortunately there isn't a whole lot of cinema glass for those cameras at the right price. There are adapters for Canon lenses, but many people prefer to have native mounts. You can get the interchangeable mount Zeiss zooms, but they start at 10k. The Sony G-master lenses are less expensive and nice, but not great for cinema. This Fuji fills a niche nicely, It should rent for about $100 a day. The specs on the lens are great at the price. That isn't that much more than an Canon L zoom with an EF to E adapter.

Fuji has an amazing track record in professional broadcast with high end lenses. The creation of a cinema targeted e-mount lens shows that Sony has made an impact. This lens should make some people very happy.

February 22, 2017 at 11:02AM, Edited February 22, 11:03AM


The A7sII is full frame. It can operate as APS-C but you lose a lot, like 4k

February 22, 2017 at 8:58PM

You voted '+1'.

It's a really nice lens. I got to play around with one a couple weeks ago and it handles really nicely.

February 22, 2017 at 12:22PM

Stephen Hildreth
I'm a shooter. I shoot things.