Fujifilm Optical Division Blog
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

After some much-needed rest and time to reflect, the 2011 NAB Show once again proved that it is the most influential event in the professional broadcast market. While the announced attendance of more than 92,000 seemed high according to some exhibitors, it was important to note the type of people who came. It was clear to me that the “right” people were at the show – few “tire kickers” and plenty of decision makers with the authority to purchase.

Of course, with so many attendees and nearly 1,500 exhibitors there is bound to be a lot of buzz about many different topics. Not surprisingly, one of the more talked about trends continued to be 3D – and not in just the aisles and booths. Sessions were held on 3D, how it’s being used and what’s next.

That is probably one of the reasons there was strong interest in one of our introductions at NAB. Our 3D synchronous box drew a crowd because it allows for two lenses to be joined and automatically synched, making it perfect for 3D productions. As most professionals know, in order to shoot 3D images, the left and right camera lens must be the same focal length. When utilizing zoom lenses, the zoom and focus position of the left and right lenses must match. Our new 3D synchronous box helps make that happen seamlessly.

Our wireless “connection” also proved popular. While much of the general talk around NAB focused on mobile DTV, people in our booth spent a lot of time discussing our wireless control system. Guests wanted to see how it worked and were happy to see that it can connect our full servo digital lenses to any of our analog or digital controllers – with no fear of interference.

Well, that is my take on the show. We’d like to hear your thoughts about NAB 2011. Let us know.

To view more pictures from NAB 2011, go to our Facebook page at www.facebook.com/fujifilmoptical.
Posted: 5/17/2011 4:50:15 PM by Thom Calabro | with 0 comments

Welcome to part three of our series on lens technology and its influence on today’s broadcast and video world. Today, let’s take a close look at optical stability technology.

High def has brought with it crystal clear pictures that allow viewers to see the smallest imperfections. It also has made slight variations in camera operation stand out much larger than if they were made in standard definition.

That is one of the reasons optical stabilization technology has become so important. First, let’s explain how and why a shaky picture happens. To create an image, light rays travel through the lens into the camera, where they are converted into an image. If the camera operator happens to be on an unstable platform, is shooting in a driving wind, or simply has an unsteady hand for a fraction of a second, the lens will move. This causes the light rays to bend, relative to the optical axis. The result is a blurred image.

Optical stability technology has been developed to make sure those images remain crystal clear. Lenses are designed with OS systems that feature gyro-sensors that can detect the slightest movement that may cause vibration and subsequent bending of the light ray. The sensors detect the angle and speed of movement and send this data to a high-speed 32-bit microcomputer. The microcomputer then converts the detection signals into a correction signal that is applied to the optical correction system which actually moves the internal lens elements. This offsets the movement and helps to maintain a stable image.

OS systems are not just helpful during HD shoots. They’re also handy in applications in which a very long focal length is necessary, since the slightest movement will cause image shake and an unacceptable picture.

To learn more about how lens technology is reshaping optical stabilization systems, visit Fujinon.com.

Posted: 3/29/2011 2:00:07 PM by Thom Calabro | with 0 comments

In this edition of lens technology, we’d like to concentrate on something that can be taken for granted but should never be overlooked. That would be achieving optimum focus.

Nothing enhances the in-home HDTV experience more than high-quality images. And nothing ensures acquiring the best possible images more than proper focus. Now, automatic focus systems have been available in consumer products for well over a decade. But these systems simply were not good enough for professional broadcast applications.

That is why NHK, one of the top broadcasting companies in the world, teamed with Fujinon back in 2000 to create a technology that would help achieve optimum focus. From that partnership, Precision Focus Assist System was developed.

Precision Focus is designed within a lens and allows the lens to go directly to the primary point of focus. It achieves this optical focus position by using a contrast method. Two CCDs are optically spaced between an image plane in a lens. The two CCDs measure and compare image contrast, and then the Precision Focus system makes any adjustments to maintain optimal focus. It even ensures optimum focus on an object as it is moving, and also maintains focus in any zoom position, from the narrowest to the widest.

By making sure optimal focus is achieved at all times in any setting, Precision Focus allows the operator to concentrate on other things, such as framing, to achieve the best possible shot. This all allows viewers at home to have an incredible in-home experience while watching their favorite programs.

To learn more about how lens technology is improving focus, visit Fujinon.com.

Posted: 3/7/2011 3:17:03 PM by Thom Calabro | with 0 comments


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