UPDATE: Interview with Fujifilm Manager about the MK lenses. They talk about and show also the Fujifilm X-mount version. The manager says that the price can’t be very different from the E-mount version and that they try to come out with X-mount version within this year (2017). More at newsshooter (thanks to the FR-reader for sharing the link in the comments).
A kind FR-reader (thanks) dropped me the link to a nice read for the weekend.
But before I share it, just allow me say a quick (but big) “thank you” to all FR-readers, who share with FR the interesting Fuji-stuff they find on the web.
You make it possible that FujiRumors is always the first to break the news and rumor, and also the first to share links in live bloggings and much more. I don’t know any other way to return you guys the favor you do to me, other than keep this blog running with enthusiasm, joy and dedication.
I’m so positive, motivated and full of energy like never before. So thanks so much to everybody for your help and support :)
At the end they visit the very best place of all the tour… but read further below, to discover what it is :)
The tour starts at the Fujifilm Omiya Headquarters, where Jon talks with a Fujifilm manger about the Fujifilm GFX 50s. and especially about the new Cinema MK lenses, the MK18-55mm F2.9 and MK50-130mm T2.9. As we already reported here, X-mount version of the lenses will come by the end of the year 2017.
A curiosity, why Fujifilm called their new cinema lenses “MK” lenses:
“M for Movie, Manual, Mobility, Marvelous, Multiple-use! Also, perhaps it can be said that in Video you “take the shot.” In stills, you “take” a photograph. But in movies, you “make” a film. You are a film maker. So MK.”
Then they continue to the Fujifilm Taiwa Factory:
“More than 1,000 people work in the vast Fujifilm Taiwa Factory, assembling X-series and GFX cameras, components and other products. A new, dedicated area has been set up for a highly skilled team to build Fujinon MK lenses.”
Regarding the MK lenses, they say:
“The philosophy of the MK lenses is affordablity for independent productions. To keep the cost down and the manufacturing yield high, Fujinon has combined techniques from their experience in high-yield manufacturing (still cameras and lenses) and high-precision, high-end lens crafting. The trick seems to the their use of molded, composite lens barrels and mechanical sub-assemblies. Traditionally, these components have been milled on CNC machines from metal. Advantages of composites include speed of manufacturing, resistance to temperature variations in the field, and advanced structural possibilities.”
And what’s the best way to end a hard day visiting factories and interviewing Fujifilm managers? Right, get a good Whisky :). So the tour ends at the Nikka Whisky Miyagikyo Sendai Distillery.
Instax SQUARE SQ 10 (hybrid instant camera) – Pictures can be selected and printed after shooting. – About 50 sheets can be saved in the built-in memory. It can also be stored in micro SD. – Expected release date: May 19, 2017 – Mass store sales price: around 31,860 yen (including tax)
Ok, I knew it… not much time to take care of my hang-over after my birthday party yesterday. Anyway, lots of coffee, and I’ll be fit in time for the live blogging on April 19 :)
In the meantime, nokishita just confirmed the announcement of GF110 and GF23 on April 19, as well as Instax Aquare SQ10.
They also mention the INSTAX SQUARE WW 1 (Square film).
Just a little leak for you guys to give you a better idea of the size of the upcoming Instax Square SQ10 prints.
Interesting to note, the original image (which I had to cover to keep the source of the leak anonymous) was printed in black and white. This can mean that there will be also a monochrome Instax Square film (like the monochrome Instax Mini film). But consider that the Instax SQ10 will be a hybrid digital/film camera, so it might be possible to transfer images taken with the camera to the Instax Square SQ10 printer, and print it from there, just like we do with a regular Instax Share Printer.
The big announcement party for the new GF 110mm F2, GF 23mm F2 and Instax Square will start soon (April 19).
I’m ready… feel free to join the Live Blogging here on FujiRumors :)
Before we start, I will make clear that I’m not an expert in designing and developing cameras. So I don’t know if the solution recommended by FR-reader CUCKOO is realistic. I’ll just share it here so that we can think about it.
Also, remember that OIS/IBIS compensates only for the shakiness of your camera, but not for the “shakiness” of the world outside. The best OIS and IBIS on earth can not freeze the movement of people and animals around you or of branches and flowers dancing in the wind.
With that said, OIS/IBIS is still very handy feature, and I consider it a pity, that Fujifilm did not implement OIS in the XF 16-55mm F2.8 and the XF 90mm F2. If these two lenses would have OIS, I think the Fujifilm X system would not need IBIS, unless…
you shoot with adapted (and slower) glass
you shoot video
A Possible Solution for IBIS on X-cameras?
Did you know that there is already this Fujifilm camera with IBIS? Sure, the XP120 is not an X-series camera, but it’s interesting to know that other digital Fujifilm cameras already have optical sensor shift technology.
Now, Fujifilm said it clearly: X-mount is not compatible with IBIS, because IBIS moves the sensor, which means the amount of light at the corners is reduced when the sensor is shifted. You’ll basically get more vignetting that Fujifilm could correct digitally, but they do not want to do it because “we don’t want to compromise our image quality.”
Ok… so Fujifilm does not want to digitally correct vignetting created by IBIS. But what about the solution proposed by FR-reader CUCKOO in the comments to this post (especially thinking at video with X-gear)? I quote:
“[For video] Fujifilm must swallow their pride and construct a stabiliser solution. If there’s a will there’s a way. For stills I agree with them 100%. For video I disagree 100%.
I think most (all?) videographers today agree that a stabiliser is quite essential to shoot video in many cases, especially if you’re doing it all by yourself, like many artists, YouTubers, one man bands and small production teams are doing it.
The most obvious way to implement a stabiliser would be to crop the readout area a little bit when IBIS is turned on. Enough crop for the stabiliser to work within the image circle. It shouldn’t be too much crop needed actually. This would be invaluable to a lot of video shooters. Turn off the IBIS to have full sensor again.
I recently got a Panasonic GH5 out of necessity. Its yucky colours leaves a lot to be desired. IBIS and no recording time limit however is more important. Colours can be improved a lot afterwards.. Shaky footage is more painful to improve in post.. and it cannot improved as well.. love-hate relationship with ge GH5.
To me, this sounds like a relative simple workaround. But as said, I am no expert, and FR-reader CUCKOO and myself might miss something.
Feel free to drop your considerations in the comments.
Fujifilm just released the first firmware update for Fujifilm GFX 50s. This is not the major firmware update we are waiting for and is rumored to be released in May.
The firmware update Ver.1.01 from Ver.1.00 incorporates the following issues:
1. The phenomenon is fixed that in some cases the actual saturation of the EVF display is not changed even if the setting of the EVF COLOR in SCREEN SET-UP is changed. It occurs especially after EVF display is changed to LCD and then back to EVF.
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