Fujifilm Optical Division Blog
For anyone who pays attention to music today, it was almost impossible not to have heard something or other about October’s Desert Trip—a music festival promoted as “the concert of the century.” Tickets were sold throughout almost every continent, with attendees eager to see some of our time’s most iconic classic rock musicians live in concert. For those who couldn’t attend in person, this was one multi-media event viewers wanted to experience in all its star-studded splendor. This required 4K imaging. Enter HD video and webcast production company Springboard Productions, led by music industry vet Hank Neuberger, who tasked renowned mobile truck provider NEPwith video acquisition and display duties.
 
NEP’s Cobalt, which was designed to cater to the specific needs of entertainment production, served as Desert Trip’s mobile production truck. NEP’s Screenworks, which specializes in video display solutions, supplied three of the large, audience display screens. The event was shot and ISO recorded in 4K, while the screens received a 1080i signal, and all the content was recorded onto 34 Blackmagic Design HyperDeck Studio Pro 2 disk recorders.
 
NEP’s Glen Levine, Co-President, U.S. Mobile Units, wanted to supply as many 4K lenses as they could for acquisition on the Sony HDC-4300 and PMW-F55 CineAlta 4K cameras. Of the 14 cameras used to capture performances as Desert Trip, 10 of them had 4K lenses, seven of which were Fujinon lenses. Two of those 4K lenses were UA107x8.4 4K UHD lenses (positioned at center house and center tower), which Levine said “looked outstanding.” The other lenses used on Cobalt included one UA80x9 4K 2/3-inch lenses (placed off stage right), three UA22x8 zoom lenses (directly on the event stage), and one UA13x4.5 4K 2/3-inch UHD portable zoom (on a jib device).
 
desert-trip-alan-vitt.jpg
Photo Credit Jim Toten

Here’s a fun fact: of the bands that performed at Desert Trip who are currently on tour, all of them use Fujinon lenses for in-venue production. Lenses currently on tour include: our XA99x8.4 ultra-wide field production lenses, UA22x8 portable zooms, and ZA12x4.5 wide-angle remote control lenses.
 
Fujinon is proud to have supplied our 4K UHD lenses to NEP, a company known for capturing great moments in entertainment history…Austin City Limits, Bonnaroo, Lollapalooza—and that’s just music! Desert Trip is sure to be looked upon as one of the greats, and we are excited to work together in the future to push the boundaries of live video production even further.
 
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Posted: 10/28/2016 3:32:09 PM by Thom Calabro | with 0 comments


Big news for Fujifilm Optical Devices in the Southeast! The Regional Service Center for the 
Optical Devices Division of Fujifilm North America has relocated from Atlanta to Marietta, Georgia. The new center will continue to service all customers of Fujinon’s HD, UHD and Cine lenses. The new office location is located at the following address:
 
 
 South Eastern Regional Service Center
 200 North Cobb Parkway
 Building 100 (Suite 126)
 Marietta, Georgia 30062
 
 
Should you need to reach someone at the new office, the main contact is Stephen Craig. Reach him via e-mail at
scraig@fujifilm.com or by phone at (404) 351-1470.
 
 
Have a question, or something to share? We’d love to hear from you! Connect with us on Facebook, Instagram or
 
Posted: 9/15/2016 12:55:44 PM by Thom Calabro | with 0 comments


The dust has begun to settle since we returned from the 2016 NAB Show, and what a show it was! We introduced the new XK6x20 Cine PL mount Cabrio XK lens, a 1.2 extender option for the UA 80x9, and the newest addition to the UA Series of 4K 2/3” lenses, the UA107x8.4 (UA107x) broadcast lens—the longest and widest 4K lens ever created for Ultra HD (UHD) and HD video production. The result of all this was a whirlwind of activity at our booth throughout the show. The cherry on top was winning a Best of Show award for the UA 107x8.4 lens!

The UA107x, the industry’s longest and widest 4K UHD lens, was honored with NewBay Media’s Best of Show Award from "TV Technology." We thank the panel of judges for recognizing the innovation, and quality this product brings to the industry! Part of the FUJINON Premier 4K product family, the UA107x provides superb 4K optical quality across the entire zoom focal range, thanks to Fujinon’s latest optical simulation software, which was used to model the lens’ large diameter aspherical elements. With high resolution, high contrast, and high dynamic range (HDR) coatings, the UA107x produces images that are sure to impress. It was an especially big hit with mobile production crews! To hear about all the other features this award-winning lens offers, as well as the other Fujinon lenses shown at NAB 2016, watch this quick video from Thom Calabro.

In addition to the excitement surrounding the UA lenses, there was also a lot of interest in the new PL 20-120 Cabrio lens. While we are thrilled, we can’t say we’re surprised! It employs all the great features and quality that’s become expected of Cabrio lenses, has a focal range of 20-120mm, covers S35mm sensors, and is available for under $20,000! Needless to say, we took a lot of orders on the spot, and with no sign of slowdown in sight.

We loved seeing what everyone had to say about our lineup before, during, and after the show on social media! Here are just a few examples:













There was still a lot of talk about 4K this year, but there was even more buzz about HDR—or High Dynamic Range—in conference sessions and throughout exhibit areas. Fujinon’s contribution to this hot topic lies in the HT-EBC coatings on our new 4K UHD lenses, which will improve the image in HDR cameras, and a new barrel design that improves the light transmission through the lens. All of the new Fujinon 4K lenses are compatible with both HD and 4K cameras, providing a seamless solution as broadcasters once again find themselves transitioning from “old” to “new.” At the end of the day, if you’re looking at HDR cameras, you’re going to want to start off with HRD lenses, too. Options include the Fujinon Premier PL 20-120mm Cabrio XK (XK6x20) zoom, the UA13x4.5 wide angle Ultra HD lens and the Fujinon UA107x8.4 (UA107x) broadcast lens.
Keep the comments coming! Have a question, or something to share? We’d love to hear from you! Connect with us on Facebook or Twitter

Posted: 5/5/2016 4:01:16 PM by Thom Calabro | with 0 comments


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.

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


If you watched Part One of our “Binoculars 101” video series, you know that Fujifilm produces a full line of binoculars boasting high optical performance and reliability for a vast range of applications. To help you further determine what kind of binoculars fit your needs, we created a brief video that reviews the particulars of the two main types of binoculars: Roof Prism and Porro Prism. Watch the full video by clicking below. You can watch the entire series on the Fujinon Binoculars YouTube channel.

 

So, what’s the difference between Roof Prism and Porro Prism binoculars? Porro prism binoculars came first, and were the standard until 1960, when Zeiss and Leitz introduced Roof Prism binoculars. You can easily identify a Porro prism binocular by its shape. 

A Porro prism binocular’s eyepiece is offset from the Objective, which is the larger end of the lenses. Porro prism binoculars usually have an individual focusing system, which means each eyepiece focuses independently. This is great for marine or astronomy use, where most subjects are at great distances.
 
Roof prism binoculars have eyepieces that are directly in line with the Objective. They are more compact than Porro prism binoculars, making them easier to carry and ideal for bird watching, wildlife viewing and sporting events. Something to keep in mind: since the light path is split and then rejoined later, it causes a slight deviation in image, as well as a lower resolution and loss of light than the Porro prism if the proper coatings are not applied. Roof binoculars almost always have a single, center controlled, focus mechanism.

With the advances in coatings over the years, a higher contrast image can be achieved for roof prism binoculars. Expectedly, this comes at a somewhat higher cost. We’ll talk more about coatings later in this video series. For now, we’ll focus on the pros and cons for each binocular type.
A major advantage of Porro prism binoculars is their ability to produce high contrast and bright images because the light is not split when passing through the prisms like it does in a roof prism binocular. That said, Porro prism binoculars tend to be bulkier and can also become misaligned, if dropped.
 
The main advantage of roof prism binoculars is that they are small, compact and can focus quite closely. With fewer internal parts, they also tend to be more rugged than Porro prism binoculars. When it comes to this type of binocular, the cost-to-performance ratio is one-to-one. Less expensive roof prism binoculars have lower image quality. Higher priced roof prism binoculars can achieve the same image quality as a mid-ranged Porro. There really is no compromising on cost to get the ideal performance.

So, now you know all about the two types of binoculars. That, combined with the basic components and applications we reviewed in the previous video, has you set up pretty well to start browsing through your options. But there are still a few more things to learn in order to make the best decision for you. Tune in to the rest of the series on our YouTube channel, and be sure to explore Fujinon.com or Fujifilmusa.com for more information on Fujifilm Optical Devices.

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

Posted: 3/17/2016 1:18:34 PM by Thom Calabro | with 0 comments


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