The ZK4. With a mm focal range and weight of only 2. Videographers used to shooting video in a typical ENG-style will be very comfortable with the servo. Cinematographers will also be right at home with this lens. With the detachable drive removed, the lens is set to accept industry standard cine motors and matte boxes. Plus, the lens has all the lens data output that appeals to a Cine-style shooter.

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The size of the lens is nice and compact. The lens rings are incredibly smooth and well dampened, making operation a pleasure. The focal range is great, allowing relatively wide-angle shots as well as long telephoto coverage.

The lens includes a servo controller, that gives the operator a lot of flexibility when shooting handheld. You have start-stop capability, a zoom rocker allowing for smooth moves in-shot, auto iris, and remote ports on the underside of the servo for connecting external focus and zoom controllers. There is also a switch that allows you to disengage the motors to operate the lens manually, or you can fully remove the servo unit and use the lens on its own.

Each of the focus, zoom, and iris rings are integrated with standard 0. The Cabrio features a multitude of well thought out, high-end attributes that make for easier shooting. It has a flange focal distance adjustment, so you can manually adjust the back-focus of the lens in the field.

This can be useful if working in extreme temperature environments when the back focus can fluctuate, or do a lot of travelling where the lens may come out of alignment. Also, the barrel markings of the lens are luminous, so you can read your focus, zoom and iris marks in the dark! The Cabrio is an economical option in the Cabrio line, matching well to the other lenses in the set, like the It makes a great B camera lens when paired with the , or a perfect stand alone lens when cost is a factor.

You can see with the , the lens has some noticeable pincushioning. Here, we can see subtle shifts in exposure across the image. Wide open at T3. Once the lens is stopped to a T5. Click here to download screen captures of all T-stops.

The lens holds its sharpness throughout the entire aperture range, and there is no noticeable sharpness falloff on the edges. Download full resolution screen captures of all T-stops here.

With the lens, there is some red and blue fringing on both the vertical and horizontal sides of the boxes. This gave us a pure white from the ambient lighting in the room. We then attached the lens and shot a white card under the same lighting conditions. This gave us an accurate read on the lens color properties. When looking at the scopes, you can see on the vectorscope that the color leans towards yellow and green, and on the RGB Parade waveform, the green channel is almost as saturated as the red channel.

In the end, it gives a slightly cooler look to skin tones. The color of this lens is a neatly identical match to the The first is in the interview frame at both 35mm and 50mm.

By watching the columns on the right side of the frame, you can see that there is noticeable scaling in the image as we rack from background to foreground at both focal lengths. Surprisingly, the breathes less than the more expensive The second test was at the pool table, at the wide and tight end of the lens. The lens does has a macro setting that can be engaged physically on the lens. Sandwiched between the iris and the back focus adjustment is a knob that engages the macro focus. If we take the outdoor cafe bulbs as an example, you can see that the bulbs are round and smooth, with a slight horizontal squish.

As you get closer to the edges of frame, the out of focus elements get one side cut off, creating a jagged outer edge. At the wide end of the lens , there is a small, yet bright halo around the light, as well as an obvious star pattern. The flare trail is incredibly minimal.

At the very end of the trail are two conical elements blue in color, with tiny, pinpoint-sized elements along the trail itself. You can see the lens coating is doing an incredible job minimizing the flare, but as a result gives little life to the flare that exists. At the tight end of the lens , the flare wakes up a bit. The coating again has minimized the flare tremendously, keeping the flare tight on the entrance and exit from frame.

The lens is solidly built, with well-designed lens rings that are smooth to operate. The addition of the servo unit turns this cinema lens into the perfect ENG lens.

The lens has minimal edge brightness falloff and is very sharp. There is some chromatic aberration in vertical sections of the high contrast parts of frame, and the lens breathes a little bit at all focal lengths.

The minimum focus leaves something to be desired at 3. The color is neutral, with a slight green tint. This yields a cooler look to the skin tones alone, without impacting the look of the rest of the image much. The bokeh is soft and round, with a slight horizontal stretch.

The flares are incredibly minimal, retaining a sharp, crisp image, even when shooting directly into a bright light. When comparing this lens to the , I found that Fujinon has done a much better job matching the critical elements of the lens build, color, contrast, edge falloff, and bokeh than other lens manufacturers, despite having a wide range of price, focal range, and weight.

You can truly feel comfortable working with all of these lenses in conjunction with each other, as well as on their own. I hope you found this lens test useful, and be sure to check out the other lenses in the Behind the Lens — A Look at Documentary Zooms series.


Behind the Lens: Fujinon Cabrio 20-120mm



Fujinon 19-90mm T2.9 Cabrio


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