FUJINON HZK 25-1000MM F2.8-5.0

FUJINON HZK 25-1000MM F2.8-5.0 LENS HIRE

RENT FUJINON HZK 25-1000MM F2.8-5.0 LENS

Fujinon HZK 25-1000mm F2.8-5.0 rental. Cinema-style ("film") cameras are becoming the norm, being incorporated into projects as diverse as Super Bowl telecasts, Fortune 500 corporate projects, concerts and award shows. They are replacing or extending traditional 2/3" cameras and lenses and driving interest in adding a new dynamic to storytelling. In sports, national and regional leagues and teams are increasingly interested in using cinema-style cameras to enhance their storytelling capabilities for fans and audiences. For live events, cinema-style cameras also bring a new perspective to concert films, major news events, etc.

In the past, creating and integrating cinema cameras and single-sensor lenses into a live production environment was slow and expensive, especially with a workflow in its early stages of development. However, with new technology and equipment available at competitive prices, the integration and cost for live production is similar to that of a traditional broadcast camera. I look forward to unravelling the details and providing our audience with the tools they need to assess the value of this new avenue for their productions.

One of the key benefits is to achieve cinema-style broadcast workflows to deliver the best solutions demanded by today's demanding viewers.

The advent of film cameras in live production is a perfect example of a rapidly evolving, relevant and educational topic, and I am personally interested in learning more about this area. 

Rent for multi-camera production Multi-camera realization with Fujinon HZK 25-1000mm

The use of multiple cameras gives the event a dynamic and interesting look and feel, with higher quality production values. When filming an event with multiple cameras, we can choose the best images from various angles, which is especially important if the event has a lively Q&A session or a fast-paced discussion. Essentially, the more cameras we can use, the better the result.

Naturally, as we add cameras, the cost tends to rise slightly as both equipment and material increase, as well as the time needed in the editing room, but the benefits outweigh the additional cost. For sequences edited in the editing room, we can use unlimited sources.

Full Frame y S35 Fujinon HZKK 25-1000mm F/2.8-5.0 PL

The lens is designed with a PL mount for Full Frame and Super 35 cameras and can be used with a wide range of cameras. This is made possible by the 1.5x expander. With this expander, the lens has a focal length of 37.5-1500mm in S35 and 25-1000mm in full frame. The lens also features an 11-group, 14-element construction, including aspherical and ED lenses, which reduce optical aberrations and improve image clarity and sharpness.

Other features include a smooth and accurate manual focusing system, a minimum focusing distance of 2.5m and a robust construction to withstand outdoor use. All in all, the Fujifilm Fujinon HZK 25-1000mm F/2.8-5.0 PL is a high quality lens with excellent performance and versatility for film and video production professionals.

Fujifilm's unique optical technology suppresses aberrations. This technology uses large-aperture aspherical lenses and precision-ground fluorite lenses. As a result, the lens is free of ghosting, flare and colour blur throughout the zoom range.

The HZK25-1000m incorporates functions such as automatic restoration of illumination attenuation (ARIA), automatic chromatic aberration correction and remote back focus adjustment. This accessory has been developed for use with Fujinon camera lenses and enables multi-camera operation. Preston Cinema and ARRI wireless focus controls are also compatible with the HZK25-1000 and can be connected.

Finally, the HZK25-1000 is the first commercially available zoom lens to support large sensors with optical image stabilisation. The anti-vibration mechanism and firmware use Fujifilm's unique ceramic ball roller system. This mechanism provides high anti-shake performance against wind-induced blur and camera shake, reducing camera shake and ensuring stable recording.

Inclusion in the Broadcast sector of the Fujinon 25-1000mm zoom lens

Before the production of the Fujinon HZK 25-1000mm lens, the only possibility to reach such a focal length with cinematic performance was the Canon 50-1000mm lens.

The Canon 50-1000mm lens is interesting. Ivo Nerenberg suggested to Canon the ideal zoom lens for broadcast: small, light and with a long focal length. The challenge for Canon, therefore, was the CinemaServo 50-1000mm. With a length of 40.4 cm (15.9″) and a weight of 6.6 kg (14.6 lbs), it is a very compact zoom lens with a zoom ratio of 20:1, servo motors for zoom, iris and focus, and a 1.5x extender.

It made it possible to replace a conventional 2/3-inch broadcast camera with a more cinematic s35 sensor camera, the Sony FS7. The minimum 16:9 focal length requires a focal length of 23.087mm x 12.970mm (26.481mm image circle) to cover the sensor area, which is no problem for the 31.4mm image circle produced by the Canon 50-1000mm lens.

It's a wide-angle lens that focuses throughout the zoom range. Specifically, it allows you to focus on a subject at 1000mm and then zoom in to frame it without losing focus. However, the minimum focusing distance is 138″ (3.5m), which highlights the long distance shooting for which this lens is designed.

The lens also includes a 1.5x extender for more advanced shooting, which converts the impressive 1,000mm focal length into an even better 1,500mm focal length and, of course, the wide end of the 50mm focal length also becomes 75mm on the dot.The lens produces excellent image quality across the entire frame (including the edges).

The rear flange is adjustable, which is very useful when using this lens with different camera systems, such as different flange distances. This is well known for broadcast lenses.

The Canon 50-1000mm lens has an ENG type motor housing on the side of the lens. It has three built-in servos for zoom, iris and focus. Focus and zoom are controlled externally, while the iris is operated manually.

The motor unit can be completely removed when using third-party (wireless) focusing systems.

Fujinon HZKK 25-1000mm F/2.8-5.0 PL VS Canon 50-1000mm T5.0-8.9

At first glance the Fujinon HZK 25-1000mm zoom lens looks bulkier and heavier than the Canon 50-1000mm lens. It is also true that this is not a big disadvantage, as these lenses are not intended to be used normally on other supports than a Mitchel tripod.

Among the major contributions of the Fujinon HZK 25-1000mm zoom lens is the large aperture at its maximum focal length, i.e. T5.0 at 1000mm. This opens up a wide range of possibilities for low-light projects such as concerts or night-time events.

The longer the focal length is extended, the smaller the reduction in angle of view. That is, the reduction in angle of view from 975mm to 1000mm is almost negligible compared to 25mm to 50mm. This angular increase of the Fujinon HZK 25-1000mm (40x) zoom lens over the Canon 50-1000mm (20x) lens offers greater versatility and storytelling capability. This aspect brings great value to projects such as sports.

The ability to use the Fujinon HZK 25-1000mm zoom lens with FF and S35 sensors (in PL mount) allows all current film cameras on the market to be used. The combination of high optical performance and the look of a film camera gives you the ability to bring high-end quality to any broadcast project.

• Mount type: PL/PL-EF
• Zoom range: 40x/20x
• Focal length range: 25-1000mm/ 50-1000mm
• Aperture: 2.8-5.0/ T5.0-8.9
• Minimum focus distance: 2.5/3.5
• Sensor sizes: S35-FF/S35