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When you think of Avatar: The Way of Water, you picture a $460 million blockbuster — big blue people, 3D cameras, and the most advanced filmmaking tech in the world.
So it might surprise you to learn that around 90% of the movie was shot using a lens you can pick up for about £2,000 second-hand. (New, they usually go for £4,000–£5,000.)
The lens? The Fujinon MK 18–55mm T2.9 — a compact, lightweight zoom usually seen in indie filmmaker kits, not multi-million-dollar productions.
The Discovery
This detail came straight from cinematographer Russell Carpenter, ASC, who revealed in an interview that almost the entire film was shot on the MK18–55.
When asked about the choice, he praised the lens for its image quality, reliability, and compact form factor - all crucial for the demanding 3D setups used in Avatar.
“Wide open aperture - super, super sharp. Just as sharp as lenses that cost ten times more.”
— Russell Carpenter, ASC
Why the Fujinon MK?
At first glance, it might seem strange that a film like Avatar would rely on what’s technically a “prosumer” lens. But there was a lot of thought and testing behind that decision.
1. Lightweight Form Factor
Avatar: The Way of Water used heavy dual-camera 3D rigs - often underwater, or on motion platforms.
These rigs needed to stay compact and well balanced, and the MK lenses, weighing just under 1kg and under 8 inches long, were ideal.
2. Consistency for 3D Filming
When you’re capturing two images side-by-side for 3D, consistency between lenses is everything.
Focus breathing, focal length, and distortion all have to match and the MKs track together exceptionally well.
3. Optical Quality
Even wide open at T2.9, the MKs deliver crisp, detailed images with minimal chromatic aberration.
Carpenter even compared them to lenses ten times the price, not something you often hear from an Oscar-winning DP.
4. Durability
They were also put through brutal reliability tests as Carpenter said in his interview that they were “thrash-tested” to make sure they could survive the physical stress of Avatar’s complex rigs and sets.
The Creative Reason
Beyond the technical side, there was a creative reason too.
Much of Avatar’s immersive feel comes from its wide, natural compositions. The 18–55mm range was perfect for that look. It helped place the audience inside Pandora, rather than observing it from afar.
What This Means for Filmmakers
It’s easy to assume that top-tier productions only rely on ultra-expensive glass, but Avatar proves otherwise.
Sometimes, the right tool for the job isn’t the most expensive one - it’s the one that balances quality, size, and practicality.
And that’s what makes the Fujinon MK series so special.
Bringing the MK to RED DSMC2 & DSMC1
Our CINELUX Fujinon MK to DSMC2 / DSMC1 Adapter is the only adapter in the world that allows Fujinon MK lenses to mount properly onto RED DSMC1 & DSMC2 cameras.
It means filmmakers using RED systems can now experience the same optical performance and compact design that made these lenses good enough for Avatar.
👉 Explore the CINELUX Fujinon MK to DSMC2 / DSMC1 Adapter
Final Thoughts
When a director like James Cameron and a DP like Russell Carpenter trust a £2,000 lens for a film of this scale, it says a lot.
It’s proof that great filmmaking isn’t just about having the most expensive gear - it’s about understanding why a tool works and how it serves the story.
And in this case, the Fujinon MK wasn’t just good enough for Avatar, it was perfect for it.
Sources:
– The Go Creative Show — Interview with Russell Carpenter, ASC
– American Cinematographer & British Cinematographer magazine features
– Avatar: The Way of Water © 20th Century Studios & Lightstorm Entertainment
