Fujifilm Optical Devices Director of Marketing & Product Development, Thom Calabro, introduces Fujinon's new PL 14-35mm T 2.9 Cabrio lens. The PL 14-35mm Cabrio lens has a detachable digital servo drive, and can be used as a self-contained ENG-style lens or cine style lens. This lens is ideal for shooters looking for a lightweight zoom that can be used as a handheld so they can capture wide angles in tight spaces.
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The CCW show has become increasingly relevant to broadcast and video production houses on the east coast over the years. We value it greatly because it attracts the industry folks who will benefit from these breakthrough lenses, and we benefit from their insight and feedback.
One of the lenses we’re excited to share with CCW attendees is the new Premier PL 14-35mm Cabrio lens. Joining the recently introduced Premier PL 19-90mm, and the PL 85-300mm lenses, it debuted at the IBC Show in September and received tremendous positive feedback. The 14-35mm Cabrio was designed utilizing the latest customer input, so while we were delighted with the response, it’s what we expected.
This lightweight lens is easy to use with today’s 4K cameras, and has an expanded focal length range of 14-35mm at T2.9 with 200-degree focus rotation. Ideal for shooters looking for a lightweight zoom that can be used as a handheld, the 14-35mm Cabrio has a detachable digital servo drive so it can be used as a self-contained ENG-style lens or as a cine style lens. It also offers exceptional optical performance in the center of the image and in the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate. The lens supports Lens Data System (LDS) and /i metadata formats, and can be controlled using cinema industry standard wireless controllers, as well as existing FUJINON wired and wireless units. The best news? It’s available now.
Also representing Fujinon will be the compact, lightweight HA19x7.4BERM/BERD 2/3-inch Premier Series high-performance HD ENG/EFP production lens. Weighing just 3.3kg, it is ideally suited to high-end ENG/EFP HDTV production, including entertainment, news, sports, and documentaries. The high-value features of this lens combine to produce unsurpassed optical performance: the lens has three floating zoom groups and Aspherics, as well as the latest HT-EBC (High Transmittance Electron Beam) coating, which results in richer colors and improved blue response and transmittance. These advanced features are extremely important in the HDTV/big screen era; television viewers can see much more picture detail—including information in the corners of the screen—than ever before, so it’s vital to have consistent resolution from edge to edge. With 16-bit encoders and 2.2X extenders as standard, this 19X lens ensures precision performance even in the most demanding HD production applications. The HA19x7.4BERM/BERD has advanced diagnostics and a short “MOD” or minimum object distance of 0.55mm, which allows shooting at closer distances. And any camera operator will appreciate the new ergonomic grip for easier handling, as well as the option to order the lens with manual or servo focus and zoom.
CCW attendees will be privy to demonstrations of how these two high-end HD lenses capture higher resolution picture information than ever before. We know our forward-thinking audience will value—and provide valuable feedback to—these superior optical devices, and we look forward to discussing how they can help meet digital cinema or HD ENG/EFP acquisition challenges.
Have questions about these lenses or the CCW show? Leave a comment here, on our Facebook page, or tweet us.
If you're a professional videographer or cinematographer, you've likely been in a situation where your focus is sharp, but softens when you zoom in or zoom out. When this happens, your back focus needs adjusting.
Welcome to part two of our Q&A with one of the world's premier wildlife cinematographers, Andy Brandy Casagrande IV, also known simply as Andy Casagrande.
We all know you are the camera-rig-master. What’s your latest?
I'm always trying to find ways to film wildlife from new and different perspectives. My latest gadgets include compact aerial quad-copter drones equipped with micro-gimbals and GPS-enabled flight support. These little drones are amazing and allow me to capture unique perspectives from the air, but at a tenth of the cost of a real helicopter…and they are so fun to fly! I have to admit, I have had a few crashes, but I'd much rather crash my quad-copter than a real helicopter.
Shark Week is always one of the biggest and most anticipated TV events of the year. This year, you worked on several programs, including “Spawn of Jaws,” “Top 10 Sharkdown,” “Serial Killer,” and “Sharkpocalypse
.” What were you biggest professional accomplishments, lessons learned, and favorite moments?
Shark Week is what I live for! Ever since I was a kid, I have been watching Shark Week and every year it just keeps getting better. This year, I had the opportunity to work on four different projects; all were different and all were a lot of fun. In "Sharkpocalypse," I was able to attach my "SharkFinCam" system to the dorsal fins of Great White Sharks and Tiger Sharks in Africa and the Bahamas. This captured a very unique hunting perspective, directly from the Shark's dorsal fin, giving the viewer the exact POV of what it's like to hunt alongside some of the world's greatest marine predators. It was awesome!
Do you think, because of your great love and admiration for sharks, that you take a different approach to filming them than some other cinematographers? If so, how?
There are many wildlife cinematographers out there, but not that many that specialize in sharks. I definitely try my best to film sharks with a different mindset. Depending on the shot, I might act like prey in order to get the sharks to "chase" me, and sometimes I act like a predator if I'm looking for a competitive perspective. Whatever it is I'm looking to capture on film, I 100% always respect the sharks and look to present them in the most glorious light!
Tell us about Shark Angels.
Shark Angels is an amazing shark conservation organization. You can learn more about it here
If you had to give one piece of sage lens advice to a rookie wildlife cinematographer, what would it be?
Always keep your lens clean! And protect the glass with your life! ;-)
To learn more about Andy’s work, visit his website: http://www.abc4explore.com/
Andy Brandy Casagrande IV, also known simply as Andy Casagrande, is one of the world's premier wildlife cinematographers, who has shot award-winning wildlife documentaries, television commercials and feature films. He’s also a friend to Fujifilm Optical Devices. Despite his busy schedule, which includes wildlife filming across the world, he took some time to talk to us about his life, his work and his love of Fujinon lenses.
We follow you on Twitter…you are constantly posting photos from your wild adventures. What are some of the projects you’ve been working on this year?
I've been very busy this year with various wildlife films around the globe, from Alaska & the Bahamas to Palau & New Zealand, on to South Africa & Australia. I have been working on a number of Shark films for the BBC
, National Geographic
& Discovery's Shark Week
What were some of the biggest challenges you faced shooting this year?
The overall biggest challenge this year has simply been scheduling! I never seem to have enough time to fit everything in! I've been trying to figure out a way to clone myself so that I can work everywhere at any time. Considering my wife, Emma, and I are having our first baby boy this September, maybe that is exactly the clone I have been waiting for!
Congratulations! Looks like a lot has changed since we last interviewed you. At that time, you’d been using the Fujinon 25x lens to capture footage of polar bears in the Arctic. Have you tested out any of the new lenses?
I have been very lucky to have tested out the new Fujinon 19-90mm T2.9 Cabrio PL mount lens
, which is a stunning piece of glass…super compact digital zoom and captures razor sharp images with an amazing range. I love it!!!
Speaking of polar bears, you tend to put yourself right on the frontlines of some of the most dangerous animal territories known to man. Lions, sharks, cheetahs…these are challenging subjects, to say the least. Do you have tricks for prepping your equipment so you can get “the shot” and get out of Dodge quickly if need be?
The trick to filming "dangerous" wildlife is doing your research and always being ready for the unexpected. Whether it's King Cobras or Killer Whales, Great White Sharks or Grizzly Bears, you must always understand each animal’s specific behaviors. Every animal has its own unique personality – some sharks are "nice" and some are "not-so-nice" – and being able to understand which ones might try to bite you and which ones just want to "cuddle" is very, VERY important! I always do my homework and do my best to understand every possible scenario when it comes to getting close and getting the shot!
Stay tuned for Part II of this interview to learn more about Andy’s work with sharks, and creating new rigs.