Duclos Lenses Announces Premium Fujifilm X-Mount Adapter for Veydra Lenses on Fujifilm Super 35/APS-C Cameras

Hollywood moviemaking optics expert par excellence Matthew Duclos of Duclos Lenses has announced the development of a professional-class Fujifilm X-mount lens mount adapter for a subset of Ryan Avery’s Veydra Mini Prime lenses via Mr Duclos’ The Cine Lens website. Welcome news indeed. 

For Super 16/Micro Four Thirds format: Veydra Mini Prime 6 Lens Master Kit, 12mm, 16mm, 25mm, 35mm, 50mm, 85mm M4/3 with 6 Lens Case (Metric Focus Scale). Veydra lenses suitable for Super 35/APS-C format are 19mm, 25mm, 35mm, 50mm and 85mm.

For what felt like the longest time, Fujifilm staff members acknowledged privately then publicly that the company needed to do better on video, first with the groundbreaking Fujifilm Finepix X100 – which I use for shooting documentary stills to this very day – then through the X-E1, X-Pro1 and X-T1 and their smaller, more affordable companion cameras.

The offical Fujifilm product shot that signalled Fujifilm’s serious intentions for shooting professional video on the X-T2.

Fujifilm’s current flagship cameras, the X-Pro2 and X-T2 are the ones where they have finally begun to get it right for video, but there is some way to go yet, as indicated by Paul Leeming’s letter to Fujifilm citing the GH4 and GH5 as exemplars.

Panasonic was the first mirrorless interchangeable lens camera (ILC) maker to start to get it right so far as video goes, with Panasonic’s Lumix GH4 cementing that company’s position as masters of the Super 16/Micro Four Thirds sensored, eminently portable, day-long usable ergonomically-advanced documentary video and stills camera.

Hybrid stills/video cameras for use in serious moviemaking need to be solid, reliable, ergonomically-designed, able to be rigged up for handheld usability and equipped with a full set of videocentric features via firmware. Paul Leeming swapped from Red Super 35 cameras over to the Super 16 Panasonic Lumix GH4 for shooting short and full-length feature films. This is Mr Leeming’s most minimal rig for feature filmmaking.

The GH4 and now GH5 have not been adopted only by documentary moviemakers. Paul Leeming shoots feature films with his GH4 and now his similarly-rigged GH5 camera after moving away from the RED Super 35 cameras he owned and rented out for some years.

Veydra’s Mini Prime lenses filled a yawning gap in matched set lens options for Super 16 moviemakers relying on the GH4 and now GH5, and, with Duclos Lenses’ announcement of their X-Mount adapter, a subset of Veydra’s lenses is poised to do the same for Fujifilm’s X-T2 and rumoured “ultimate APS-C camera” for stills and video.

Fujifilm’s X-Mount lenses have been eyed-off by video professionals familiar with their Fujinon broadcast and movie production zoom lenses, for some time and for good reason, as Matthew Duclos shares in his post about the X-Mount adapter:

Any Fujifilm fan (including myself) knows that Fujinon makes some amazing lenses for their X line of cameras. They’re fast, lightweight, sharp, and relatively affordable. I firmly believe lens quality and selection is what sets Fujifilm apart from the rest of the mirrorless pack. But for motion picture work, the current lineup of Fuji X lenses simply isn’t going to produce good results. Will they get the job done? Sure… They’ll be good enough.

There is a difference between the needs of higher-end motion picture cinematographers and other moviemakers for whom stills lenses can be good enough for shooting video. Fujifilm seems to have recognized that with their recently released Fujinon MK 18-55mm T2.9 and MK 50-135mm T2.9 zoom lenses but there is no sign they will be coming up with videocentric prime lenses any time soon.

Veydra Mini Prime lenses for Super 16/Micro Four Thirds and Super 35/APS-C

That is where five out of seven of Veydra’s Mini Primes come in. All seven of them provide a well-spaced set of focal lengths from 12mm through to 85mm, in 35mm equivalent terms from 24mm to 170mm for Super 16 cameras. The Veydra subset suitable for Super 35 cameras like the X-T2 and its successors covers 19mm through to the 85mm focal lengths.

Veydra primes for Super 16/Micro Four Thirds cameras

  • 12mm – 24mm, in 35mm equivalence
  • 16mm – 32mm, in 35mm equivalence
  • 19mm – 38mm, in 35mm equivalence
  • 25mm – 50mm, in 35mm equivalence
  • 35mm – 70mm, in 35mm equivalence
  • 50mm – 100mm, in 35mm equivalence
  • 85mm – 170mm, in 35mm equivalence

The Veydra team was working on a wider lens than 12mm but had to abandon the idea as it would have been prohibitively expensive and oversized. Pity, as a 21mm equivalent or wider makes for excellent scene-setting and interiors shots.

Veydra primes for Super 35/APS-C cameras

  • 19mm – 28.5mm, in 35mm equivalence
  • 25mm – 37.5mm, in 35mm equivalence
  • 35mm – 52.5mm, in 35mm equivalence
  • 50mm – 75mm, in 35mm equivalence
  • 85mm – 127.5mm, in 35mm equivalence

The 12mm and 16mm lenses vignette on Super 35 cameras. Wider focal lengths than 19mm would come in handy, so may have to be sought from amongst Fujifilm’s prime lenses such as the Fujinon XF 14mm f/2.8 R or XF 16mm f/1.4 R WR with their clutch manual focus option.

The Fujinon XF 10-24mm f/4.0 R OIS or XF 16-55mm f/2.8 R LM WR zoom lenses offer wider options than 19mm too. Many Fujifilm users wish to see the latter lens upgraded with OIS as it would make an excellent stabilized companion to the 10-24mm and XF 50-140mm f/2.8 R LM OIS WR zooms.

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Header image composite made in Affinity Photo and Alien Skin Exposure X2 using Summer Blockbuster (glow) Cinema preset.

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