Fujifilm Optical Division Blog
The 2016 NAB show is just a few days away, and we at the Fujifilm Optical Devices Division can’t wait to show you the fantastic lineup of new Fujinon lenses and options we’ve got in store!

In this video, Director of Marketing & Product Development Thom Calabro offers a sneak peek at what you can expect to see from us this year. You can find us at booth C7125. We’ll see you there!

As always, you can find more information on all Fujifilm products at Fujinon.com or FujifilmUSA.com.

Have a question, or something to share? We’d love to hear from you! Connect with us on Facebook or Twitter

Posted: 4/14/2016 2:52:58 PM by Thom Calabro | with 0 comments

Digital Cinema Report recently began exploring the evolution of lenses from the perspective of the manufacturers in its series, “Magical Glass.” How does a company determine what lenses to make and how to bring them to market? The fourth installment of the series features FUJIFILM Optical Devices Division’s Director of Marketing and Product Development Thom Calabro on the challenges lens manufacturers face. Continue reading below for the full interview, or you can view the original version.

“Digital Cinema Report: What drives lens development at your company? Is it customer demand, products introduced by your competitors, or innovations discovered by your own designers? A combination of all of those? Something else entirely?

Thom Calabro: Customer demand is a big component in our development decisions. Our 2/3-inch Compact Cine lenses were a direct result of speaking with cinematographers who were willing to jump into digital cinematography. Speaking with many of our mobile customers led us to develop the XA99x8.4. These customers wanted a tele lens that would be able to get relatively wide angle shots. The HA18x5.5 came about after a top sports network requested a wide angle ENG style lens that would be able to go long.

DCR: What is the single biggest challenge in making a high quality professional lens?

TC: One of the biggest challenges is making a high quality lens that is affordable. It has become increasingly difficult to do this. As cameras have gotten higher in resolution, the lenses have had to become better. Cameras, being electronic devices, have come down in price over the years; lenses have not. In fact, lens pricing has gone up.

DCR: Why does FujiFilm not make prime lenses for the cinema market?

TC: While it was difficult to break into the cine market with zoom lenses, we did so because of our expertise in making zooms for the broadcast industry for many decades. We feel that our zoom lenses compete, and in many cases beat the primes in quality comparisons.

DCR: How much time does it take to bring a new zoom lens to market?

TC: I could give you two very recent examples. At NAB 2013 we sat down with one of the sports cable networks. Their request was for us was to produce a high-quality lens that is rather multi-purpose. The need was for a wide angle lens that could also go long. The lens had to be similar in size and weight to what was currently being used. At NAB 2014 we were able to show a working HA18x5.5 lens, and we made deliveries in June. Also at NAB 2013 we were discussing with various customers what their requirements would be for a new PL cine lens. One year later we showed the Cabrio PL 25-300. This lens already has been delivered to a number of customers. So a bit over a year would be about normal.

DCR: Describe the steps in each process.

TC: We develop a set of parameters; size, weight, optical performance, and cost. Our designers work with our proprietary software, Global Optimization Technology, or GO Tech. This software allows us to produce lenses in a very short period. One of the ways it does this is by eliminating the need for early prototyping. We, of course, still develop prototypes, and we go through design changes, but it a much more streamlined process with GO Tech.

DCR: To what extent has digital cinematography changed lens design and manufacture?

TC: The resolution in today’s cine camera is very high, and most of the video being produced on these is slated for theatrical release, meaning very large viewing screens. Any and all chromatic aberrations will certainly show on these. So our tolerances have to be maintained to a very high degree.

DCR: Has there been a dramatic change in the kinds of lenses cinematographers request? If so, what?

TC: We are seeing that more and more cinematographers are using zoom lenses. While most don’t “zoom” the lens during a shot, they are using them as variable primes. Our cine zoom lenses have been compared to the finest primes, so quality is not an issue. The zoom lens allows the cinematographer to work faster, because there’s no need to stop production to change the lens to a different focal length.

DCR: How much of the lens-making process is still done by hand?

TC: Lens grinding, polishing, and coating are automated processes. The actual assembly and adjustments of all of our high-end lenses are very much a manual process.

DCR: Where are your lenses made?

TC: In our Japan factory.

DCR: Where do you source your glass?

TC: From premium and well known glass manufacturers like Ohara and others.

DCR: What new lenses are you developing now?

TC: We are working on a number of lenses for various applications, but I’m not at liberty to disclose anything more.

DCR: Will lenses always be analog or can you envision an all-digital high quality professional lens?

TC: Lenses will remain analog, but digital technology can help analog lenses. Chromatic aberration compensation is currently being used by many camera manufacturers. The digital electronics in the camera talk with the digital servo on the lens. This was originally designed to compensate for aberration errors in lower cost lenses, but even the finest lenses can benefit from this function.”

Have questions or comments about Fujinon lenses? Connect with us on our Facebook page, or tweet us.

Posted: 11/6/2014 12:06:48 PM by Thom Calabro | with 0 comments


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.

Go to www.Fujinon.com, or follow us at www.Facebook.com/FujifilmOptical and www.Twitter.com/FujifilmOptical

Posted: 12/2/2013 11:11:23 AM by Thom Calabro | with 0 comments


James Buchmann Spruce McRee #FujinOnTheRoad . “camera “desert “empire “field “fujinon “gearhouse “gearhouse” “High “Indio “mobile “music “NEP “NEP” “OB “sports 101 107x lens 107x” 11mm 14-35 14-35mm 18-85mm 19-90 19-90 Cabrio 2011 2012 20-120 20-120mm 2014 2016 22x” 25-300 25-300mm 25x 2K 35 35mm 39 flex 3D 4K 4k lens 4k live sports production 4k mobile unit 4k production 4k sports production 5k 6k 8 80x9 85-300 ABC Abel Abel Cine AbelCine Aerial aerial shooting affordable Africa american society of cinematgoraphers and Andy Andy Brandy Casagrande IV Andy Casagrande Anthony Arctic ARRI Rental Arts ASC ASC Clubhouse Atlanta” Award Awards back focus Ballard basics Beam Bears Beast Beauty Best best sports broadcast lens Bexel Bill Bennett Bill Sheehy Binoculars bird watching bite-cameras Black Bleckley Blue Bob Bob Poole Bob Poole Films Boston Bourdain Box Box-lenses Brain Farm Bravo Brazil broadcast broadcast lens broadcast” broadcasting broadcasting” Buck Buddy Cabrio Cabrio PL Calabro camera camera lens Cameron care Cassagrande CCD center” Channel Chapple Chater Chris Cine Cine Gear cine lens cine lenses cinegear cinema cinematograhpher cinematographer cinematographers cinematography Cinematography workshop cinemtaography cine-style zoom City Claudio Miranda club” Coating” coatings cobalt” Color Contrast controllers Creek Crittercams Crosscreek Crosscreek Television Productions Curt Morgan Daniel Danny Walters David David Lemmink def Definition Dejan Georgevich Detachable Device Devices Diamond Digital Digital Motion Picture Center Director director of engineering director of photography Directory Discovery Distortion Division documentaries documentary DP drag DTV dynamic EBC Electron Ellroy, Inc. ENG engineers Eric Steelberg Erik Erik Schietinger ESPN events exit pupils Faulkner Festival festival” field field lens field of view field production lens FILA film filmmaking workshop filmography Filmworks Flare flare” focal focus fog-proof Food Fox Fuji Fujifilm Fujifilm Optical Fujifilm Optical Devices Fujifilm Optical Devices Division Fujifilm. FujifilmOptical Fujino fujinon Fujinon 42x Fujinon Cabrio Fujinon Day Fujinon PL Cabrio19-90 Furmanski gear Geographic Geometrical Georgia” glare Glass Gorongosa Park: Rebirth of Paradise Group Guy HA14x” HA18 HA18x5.5 HA23x” HA25X11.5BERD HD HD lens HDTV headquarters” high High Transmittance Electron Beam High-Definition Home Shopping Network horse How how to HT-EBC Ian Ellis image industry interpupillary distance iris IT Jackson Hole James Jonathan Jordan Maxham Keith Winikoff Keith Winikoff, Killer Las League length Lens lens workshop lens” lenses Light lightweight Linstrom Luis de Los Reyes Magical magnification maintenance maintenance” Marietta” McRee Meat MeatEater Men mini-box mobile Mobile TV Group Mossman mount Mozambique MPS Studios MTF MTVG NAB NAB Show NABShow National Network New NHK Night Train Pictures, Inc. nine-blade Noise NYC Ocean Oceanus of Oliver Schietinger Olympics optical optical lens optical stabilization OS-TECH Otto Nemenz Otto Nemenz International Paralympic Games Parts Paul Rodriguez PBS performance Pete Photography PL PL 14-35 PL 14-35mm Cabrio PL 19-90 PL 19-90mm PL 25-300 PL 25-300mm Cabrio PL 85-300 PL Mount PL primes PL zooms PL14-28 PL19-90 PL85-300 PLMount Point Polar polo Porro Prism Premier Premier PL 25-300mm Premier PL 25-300mm Cabrio Premier PL 4K+ Series Premier Series Premier Series HA18x5.5 PRG Nocturne prime lens production Productions professional professionals racing range” RED RED Epic Dragon reflectance regional reliability remove Rentals Report Reproduction Resolution Rio de Janeiro Rob Ron Roof Prism Rookie S35 Sales Sam Nicholson San Paulo Schietinger School Sensitivity sensor series service servo servo drive unit shark Shark Week sharks SharkWeek shoot shooter shooters shooting shot Shots Show SIM SMPTE Sochi Sony Digital Motion Pictures Studio southeast” Speed Spike Spintec sporting events Sports sports broadcasting lens Spruce Spruce McRee stability standard Stargate Studios steadi-cam StudioDaily Prime Award Style Summit Sundance Super support SVA SVG Talamas TCS technical center technical support Technology telephoto telephoto field lens telephoto lens Television The Thom Thom Calabro Tiago Lemos Timur Civan tips Titanic to Tobias Schliessler Token Tom Curran Tom Dickinson Transmittance travel Trevisans trip” truck truck” Tstop Cinema LLC TV UA UA107x UA107x8.4 UA13x UA13x” UA13x4.5 UA22x8 UA80” UA80x UA80x” UA80x9 UHD Ultra Ultra HD ultra-wide unit Unknown USA Vegas Viacom video videographer videography Visual Voyager waterproof week whisperer wide wide angle lens wide angle zoom lens wide-angle WILD wilderness wildlife william wages Winter Games wireless World Cup XA50x9.5 XA55 XA55x9.5 XA55x9.5 telephoto zoom XA55x9.5BESM XA99 XA99x8.4 XK XK6x20 XT17 York YouTube Zero ZK series ZK4.7x19 zoom zoom lens zoom; ZPZ


Fujinon Optical Division BlogRSS