We are pleased to share that Talamas Sales and Rentals
, a broadcast equipment rental house in Boston, recently took delivery of the new FUJINON PL 85-300 (ZK3.5x85), making it the first in the region to receive the HDTV PL mount zoom lens
Dave Talamas, president of the rental house, expects strong demand for the PL 85-300, following in the footsteps of the PL 19-90, with which they’ve had tremendous success.
Talamas credits the design of the two Cabrio lenses with providing exactly what the market needs: fast, lightweight, multipurpose lenses offering ideal focal ranges at a price point sweet spot.
While demand for the PL 19-90 has been very strong and feedback has been positive, Talamas customers were asking for something a little bit longer. When the PL 85-300 becam
e available, the Talamas team knew the new lens’ longer focal length would be of great use for beauty shots, nature cinematography, sports documentaries, and other applications.
Talamas Chief Engineer Anthony Bottaro considers both lenses to be crossovers, as they combine the look, resolution, and other picture attributes associated with large sensor PL mount zoom lenses, but with the compact, lightweight “run and gun” functionality ENG/EFP shooters expect.
This lens seems to be particularly appealing to ENG shooters who like to be agile and follow the action. Talamas Senior Video Technician Daniel Ardizzoni tributes that to there being a digital servo handgrip right on the lens for zoom control in combination with today’s small, lightweight digital cameras.
While those shooting ENG-style are right at home with the servo unit attached to the lens, both Cabrio lens models are designed to allow cinematographers to detach the handgrip and shoot instead with industry-standard cine motors and matte boxes, as well as FUJINON wired or wireless controllers. The digital servo on Cabrio lenses has 16-bit encoding to ensure that lens data output is extremely accurate.
The FUJINON PL 85-300 offers a focal length of 85-220mm at T2.9 and 300mm at T4.0. Weighing 3.0kg with servo and 2.5kg without, the lens offers flange focal distance adjustment, 200-degree focus rotation, a short MOD, a macro function for close-ups of objects and the images captured cover a 31.5mm diagonal sensor size.
Have questions about the PL 85-300 or any of our other professional lenses? Leave a comment here, on our Facebook page
, or tweet us
Posted: 3/20/2013 2:39:48 PM
| with 97 comments
The Fujifilm Optical Devices Division will show a variety of new lenses and upgrades at this year’s NAB Show
at the Las Vegas Convention Center from April 8-11. FUJINON lenses for broadcasting, sports, digital cinematography and production applications will be on display at Booth C7525
, including an enhanced version of the Emmy-Award winning, “Precision Focus Assist” technology and the latest in PL Mount, EFP, Studio and ENG lenses.
Making their NAB debut this year are two high-performance lenses: the Premier PL 85-300 Cabrio
lens (model ZK3.5x85) and the XA99x8.4 UltraWide
field production lens.
Designed using the latest optical simulation technology, the PL 85-300 Cabrio not only offers exceptional optical performance in the center of the image, but in the corners of th
e frame, as well. Like the highly acclaimed PL 19-90mm Cabrio
(Model ZK4.7x19), the PL 85-300 is equipped with the same indispensable features including flange focal distance adjustment, a MOD of 1.2m, a macro function for objects as close as 97mm (3.8-inches), and it covers a 31.5mm diagonal sensor size. While the two lenses share many beneficial similarities, the PL 85-300’s longer focal length – 85-220mm at T2.9 and 300mm at T4.0, with 200-degree focus rotation – makes it ideal for shooting documentaries, nature and wildlife, and commercials. The entire range of Premier PL
4K+ cine lenses will also be at the booth. On display will be the 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400 mm T2.8-T3.8.
The new XA99x8.4 UltraWide features a newly developed, patented image stabilization technology for the rock-steady performance critical for long-distance HD shots, making it ideal for producing live sports and entertainment events. Like other lenses in this product line, the XA99x8.4 comes with FUJINON’s DIGI POWER digital controls, offering high accuracy, flexibility and a host of production features. Additionally, high-resolution 16-bit encoders make the lens suitable for virtual, robotic, and digital signage, among other applications. FUJINON’s exclusive GO-TECHnology improves image resolution and reduces chromatic aberrations at all focal lengths. The XA99x is f1.7 to 341mm and f4.2 at 832mm with a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m. Also on display will be the XA88x8.8 with an enhanced version of Precision Focus Assist, marking the first time this model has incorporated the technology.
Fans of Fujinon’s 1/3-inch EXCEED line can look forward to a new version of the 1/3-inch XT17sx4.5
lens, which features full remote control, for videoconferencing, weather cams, educational, and studio robotic applications. Other NAB highlights include lenses in the Premier Series of high-performance ENG lenses
for 2/3-inch cameras: the HA19x7.4, the HA14x4.5 super wide angle and the HA16x6.3 lenses. The ZA Select Series lenses
will also be on display in telephoto, remote control, and with and without 2X extender versions.
Have questions about these lenses or the NAB Show? Leave a comment here, on our Facebook
page, or tweet us
. We look forward to seeing you there!
Posted: 3/6/2013 10:57:00 AM
| with 105 comments
Welcome to part 2 of our Q&A with highly-respected Director of Photography, Guy Mossman of Vox Pop Films.
What do you view as emerging trends in the industry today?
Technology is evolving very quickly in the industry and seems to be driving creative decisions. It’s easy to get carried away with the next great thing. For me, listening and being present to capture story and character is paramount to good storytelling and trumps everything else. The public, however, is increasingly hungry for great visuals to complement the creative storytelling. The non-fiction DP has to be adept at both.
An obvious trend in the industry today is a shift toward the use of bigger sensors in smaller cameras. Audiences and producers want that shallow depth of field, ‘cine’ look. I do a lot of handheld cinematography for reality shows and commercials, so I need a camera that I can hold and run with for 8-10 hours in intimate, tight situations and use without focus pullers, monitors, or even an AC on smaller productions. Cine-style lens manufacturers are catching on and incorporating ENG form factors into newer designs. All this means smaller crews and lighter production – but not necessarily lighter production values. For the verité cinematographer, it’s an exciting time to be shooting.
Do you have a favorite "go-to" camera and/or lens?
Lately, I have been shooting with the Canon C300 with a variety of PL and EF mount lenses. I look forward to trying Fujinon’s Cabrio lens
on the C300 and Sony F3.
What did you do before you started making documentaries in 2000?
I taught art to high-risk youth at a high school in Colorado. That led me to the Peace Corps, which led me to journalism school, which led me to documentary filmmaking.
What are the most significant changes in filming from when you started?
For me, as a newcomer to the film scene, the two biggest changes have been the swift evolution from SD to HD to 4K, and most significantly, the shift to tapeless workflows. Non-fiction producers and networks are still slowly getting used to the tapeless workflow. I have found a way to make it work pretty reliably in most conditions. Other than this, it’s pretty much the same: people are people.
What are you working on now?
In 2008, I started Vox Pop Films
with my wife, Lisa, to produce and direct commercials. When we are not doing commercials, Lisa and I are working on our first feature documentary together called "Patient 13
." It follows a small team of quirky, eccentric inventors and scientists on the verge of engineering a cure for Type 1 diabetes. The lead inventor has Type 1 diabetes himself and insists on being the 13th participant in his own trial. We should be in production through 2014. Lisa has Type 1 diabetes as well, so it’s a topic very near and dear to us.
I also freelance for other directors, and lately have been focused on establishing myself as a DP in the commercial world.
What is something you think people would be surprised to know about you?
I’m a pretty laid back guy, so most people are surprised to learn I was a lead- singer for a punk rock band in Charlotte, NC during my high school days. We were called Slam Chowder. We drank a lot of Yoo-Hoo. Our hit was called “Daddy was a Vegetable.”
See more of Guy Mossman's behind-the-scenes photos on the set of "Buck" here
For more information on Fujifilm Optical Devices, go to www.Fujinon.com
, or follow us at www.Facebook.com/FujifilmOptical
Posted: 8/23/2012 1:52:34 PM
| with 555 comments
" premiered at the 2011 Sundance Film Festival
where it won the U.S. Documentary Competition Audience Award. It has since received overwhelmingly enthusiastic, positive feedback and recognition. The film, which focuses on the life, career, and philosophy of the real-life "horse whisperer" Buck Brannaman, owes some of that credit to star cinematographer, Guy Mossman. We had the privilege to sit down with the highly-respected DP/Director to discuss film making, his views on the industry, what’s next from him, and more.
How did you get involved with Buck, and what was it like to film?
My wife and producing partner, Lisa Hepner, was asked to direct a few shoots in California in 2007,
and she introduced me to "Buck’s"
director, Cindy Meehl. I DP’d the shoots and ended up capturing one of the pivotal scenes in the film. So much of what we do as non-fiction DPs is intuition and having a feel for the subject and situation – hopefully we make it beautiful or visually interesting at the same time. I was drawn to "Buck
" immediately and had a good rapport with Cindy, so I was extremely fortunate to finish the film with her. There were a number of very talented DPs who worked on this film, including Dyanna Taylor and Luke Geissbuhler, and their beautiful work is evident in the film, too. It was a true honor to be working alongside them and learning from them in this way.
You mentioned that you shot some key scenes with the Fujinon XT17x4.5BRM-K17 lens. What about the lens do you find so useful?
It’s a versatile lens with really good reach, which was important for shooting the horses; they are very sensitive animals and, with this lens, I could get in close without being too close physically. I thought it did a great job shooting outdoors where there was plenty of light. It’s a 1/3” bayonet mount so it’s not the best performer in low-light situations, but it was sensitive enough to shoot in most indoor situations. Also, we were shooting in very hot and dusty conditions for extended periods of time, and the lens did a nice job of withstanding vibration and dust. The servo was also great.
You obviously spent quite a bit of time working with horses while shooting Buck. Is this something you’d done before, or were there boundaries you needed to learn to get your shots (and not get hurt)?
I had never spent a lot of time with horses so it was an incredible learning experience for me. They are such sensitive animals and very smart. I had to learn and understand a little about what Buck was doing with the horse (and with his clinic participants). Cindy was very good at explaining the subtleties of his work, having studied under him for many years. Most of the time, we were shooting at a distance, but when Buck
was brushing the horse or preparing the saddle, I was able to gently get up close with the camera.
Is there one instance you can pinpoint that turned you on to filmmaking?
I fell in love with documentaries later in life. I grew up watching dramatic features, foreign films, and music videos like many in my generation. It wasn’t until I first saw Martin Bell’s and Mary Ellen Marks’ film, "Streetwise"
, about homeless teenagers in the downtown streets of 1980’s Seattle that I thought to myself that this is what I need to be doing. At the time, I was a Peace Corps volunteer in Paraguay and had been raiding the video collection of my Country Director, Diego Hay. In the collection were documentaries - "Sherman’s March"
, "Burden of Dreams"
, "Grey Gardens",
– that blew me away. "Streetwise"
really resonated with me, as I had been working with street kids in a small town in the interior of Paraguay. Over the next two years, Diego and I went on to make a short documentary about issues facing the teenagers of Coronel Oviedo. I discovered that documentary filmmaking combined all of my interests: art, storytelling, and people.
While in Paraguay, you produced and directed short documentaries for the Peace Corp and the United Nations Development Program. Tell us about that experience.
I was teaching a Sex Ed class to community members, and I wanted to get them fired up to talk about certain issues they faced in the barrio – in particular, exceedingly high rates of teenage pregnancy. Everyone spoke the indigenous language, Guarani, and very little Spanish, so, as you can imagine, it was impossible to find a film in Guarani that community members could understa
nd, much less connect with. That´s when the Peace Corps director proposed that I make the short film if he could find the money. He found the money.
For my graduate school master´s thesis, I went back to Paraguay in 2004 to make a series of short videos for the web with the United Nations about the community radio movement in Paraguay.
These experiences in Latin America have influenced me tremendously, and I am often asked to shoot overseas, especially in Latin American countries.
What is it that draws to you filming non-fiction rather than anything else?
I have not shot a scripted narrative yet, so I can’t say I wouldn’t be drawn to it. Non-fiction, however, is my passion because I feel a responsibility as well as a creative impulse to give voice to important issues and people of the day. Shooting stories and commercials about real people can be a transformative experience and no less strange or compelling. It’s an amazing opportunity to connect with people who are totally different than you. To convey what’s singular, humorous, or remarkable – that’s the challenge. It can be exhausting and the risks are significant, but it needs to be like this in order to build trust with your characters. And trust is our currency.
It’s not a passive “fly on the wall” experience; it’s one where you’re in the room, interacting, and you’re welcomed into their “circle of trust,” as the DP Joan Churchill said. And you’re willing to take a chance and commit. If you’ve done your homework and have a bit of luck, you’ll seize that fleeting moment or capture something profoundly emotional and meaningful. It’s a great feeling at the end of a long day. I believe Roland Barthes called it the punctum.
Stay tuned for Part II of this interview.
See more of Guy Mossman's behind-the-scenes photos on the set of "Buck" here
For more information on Fujifilm Optical Devices, go to www.Fujinon.com
, or follow us at www.Facebook.com/FujifilmOptica
l and www.Twitter.com/FujifilmOptical
Posted: 8/7/2012 12:44:38 PM
| with 898 comments
Welcome to the second half of our interview with Aerial Director of Photography at Aerial Filmworks, Ron Chapple!
5. Do you have a favorite "go-to" camera and/or lens?
We have both the Fujinon 42x 9.7mm and 13x 4.5mm lens kits for our Cineflex systems. (We own 3 of the 42x lenses, and one 13x lens.) While most of our clients request the longer lens for the amazing range, I personally like the wide lens. With the wide, I can get images that feel as if they are wrapping around the helicopter. In December, I filmed in the narrow canyons of Big Bend National Park where we had less than 200 feet between 1,000 foot canyon walls. The Fujinon 13x wide was perfect!
6. You film a lot of wildlife. For example, the PBS/Nature film, "Bears of the Final Frontier" must have been a challenge. What is that like?
Our first premise is that wildlife must be filmed without any awareness of the helicopter. Having the right long lens is critical to getting the shot. If any animal is startled or intimidated by the helicopter, we immediately cease filming. The big "no no" in nature documentary work is seeing the backside of the animal running from the camera. On the "Bears…" project, we were fortunate to have a strong wind that pushed the helicopter noise away from the animals, and by using the 42x 9.7mm lens from 1,500 feet away, we were able to get really great images of the bears interacting normally.
7. What are the most significant changes in aerial filming from when you started until now?
The newest trend we are seeing is what the industry calls "Piece to Camera" where the actor or presenter looks at the Cineflex to deliver their lines. We are circling the scene zoomed in to the actor , and then pull out to full wide to reveal the whole scene. The new PBS series "America Revealed" has many of these scenes. We have filmed the host skydiving from 10,000 feet, riding along in open cockpit airplanes, standing on top of huge industrial cranes, and flying in ultralights. Last week in Costa Rica, I filmed two actors in a helicopter flying low through the rainforest!
8. Is there anything else you'd like to add?
Yes! Lenses and cameras are critical hardware for any creative business. The part of this business that always is most impressive is the teamwork! Everyone in the entire process is important, from the people that make the lenses, build and design the Cineflex, to the creative director, helicopter pilot and logistics crew. We all have our unique role in bringing great images to the viewer.
Posted: 5/23/2012 11:10:12 AM
| with 1931 comments