Product Description:

The Fujinon MK to RED DSMC Conversion Kit is a one of a kind user-replaceable lens mount kit, specifically designed for Sony-E mount-equipped Fujinon MK 18-55mm Cinema Zoom lenses. In the near future, this kit will also offer compatibility with its counterpart, the Fujinon MK 50-135mm.

To make this lens mount conversion possible, the kit takes advantage of the extra space the RED DSMC1, DSMC2 & Ranger cameras use to house their interchangeable lens mounts. This means that this lens connects to the camera via the 4 threaded holes that would normally connect your lens mount. To make lens changes easy, the mount incorporates 4 custom-designed knurled thumbscrews that are held captive within the mount itself.

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DIY Conversion:

There a link to the full assembly guide, next to the image gallery.

The mount however is fully user replaceable and only requires the one screwdriver provided to remove the Sony mount and attach the new one. The conversion takes about 15 minutes to complete, and all of the components can be removed with ease.

The process is also completely reversible and can be swapped back to its original Sony E mount if you require.

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Are there any downsides?

This lens mount has been designed with every precaution in place, in order for it to perform as you would expect on a mirrorless mounted camera system.

All key lighting scenarios have been rigorously tested, including veiling glare and also heavy lens flares from small pointed light sources, to ensure it will produce excellent and clean results.

It has been mainly tested on DSMC2 which has the benefit of the integrated light baffle, but testing on DSMC1 cameras has also achieved excellent results.

I do want to mention that this lens mount conversion is really pushing the limits of what is possible and there may be some unforeseen instances where the lens may perform differently from how you may expect.

However under all the testing, including real-world commercial shoots, any small issues I have come across I have amended the design of the mount to correct them.

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Will the lens still be Parfocal?

Yes the kit is designed so that the lens will remain parfocal and will hold focus as you zoom in and out.

The back focus adjustment on the lens will need to be recalibrated to the camera to achieve this.nIf you can't calibrate your lens correctly, it means that your camera's back focus is incorrect.

All REDs have their back focus calibrated from factory, so 99% of the time the back focus on your camera will be correct. if it isn't, don't worry, it's an easy adjustment to make on DSMC1 & DSMC2 cameras.

DSMC1 - Back focus Adjustment Procedure

DSMC2 - Back focus Adjustment Procedure

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Why the Fujinon MK Lenses?

Many companies have products or creations that go above and beyond what is realistically required and I believe the Fujinon MK Lenses are one of those products. The level of quality and thought truly exceeds what is conventionally expected of a cinema lens at this price point.

There is a fantastic article on Fujinon's website, which interviews the people who created the MK lenses and you get a real sense of their passion, insight and vision, allowing for these lenses to be achieved.

www.fujifilm.com/fujinon-mk‍

Key takeaways from this article include:

• Consistent 4K optical resolution across the zoom range.
• Minimal chromatic aberration, even wide open, thanks to multiple ED lens elements.
• Vivid Fujinon colors matching the esteemed Fujinon HK, ZK, and XK Series.
• Lightweight design at just 1KG, achieved through composite plastics, without sacrificing thermal properties.
• A premium feel and balanced lens handling.
  

In my opinion, the Fujinon MK lenses represent the best-all-round cinema zooms in their price range. While there are lenses that are faster, or offer coverage for FF sensors, many don't come close to the thought and engineering behind the Fujinon MK zooms. Optically this lens performs incredibly closely to its nearest sibling the FUJINON 19-90mm T2.9, which costs about 10x the price at £30,000 / $35,000

I believe Fujinon's intention was that by fitting these lenses with mirrorless mounts, it would be a way of protecting their higher end lenses. This design limits the conversion to EF, PL, or LPL camera mounts, limiting its use on alot of high-end cinema cameras.‍‍