Fujifilm Optical Division Blog
One of our favorite things to do here at the Optical Devices division of Fujifilm is to publicly recognize the professional experiences our talented, loyal customers have shared with us. Timur Civan is a Director of Photography and producer we are proud to call one of these customers. With a degree in studio art and previous career as a sculptor, Timur takes pride in telling an artistic story through his camera work. His production company, Tstop Cinema LLC, focuses on high-end commercial and feature film work, ranging from fashion and technology projects, to cooking, and Sesame Street promos. Over the last few years, one piece of equipment Timur has relied upon is the Fujinon PL 19-90mm Cabrio lens (ZK4.7x19). Most recently, he used it to shoot commercials for FILA sneakers and the Home Shopping Network (HSN).

Timur cites the Fujinon Premier Series 18-85mm T2.0 zoom as his all-time favorite lens, describing it on his website as “legendary” and “practically a miracle of modern optics.” So, naturally, when the Cabrio 19-90 T2.9 lens was introduced in 2012, Timur was one of its first customers. We spoke to him recently and he recalled:

“I’d just sold my previous lens because it was expensive and was not renting well, and was in the market for a new one. At first, I just thought that the Cabrio would be a good rental item, which it definitely is. What I didn’t expect was its high optical quality. Zoom lenses with such a long focal range can sometimes lack in image quality, but Fujifilm did an amazing job with its image quality. The optics on the lens are just beautiful.”

One of the things Timur particularly appreciates is the compactness of the lens. Weighing in at just 2.85kg, including its servo motors, the PL 19-90 offers the longest focal range available in a lightweight zoom. Another feature he was surprised to find so valuable is the detachable servo drive. The exclusive detachable servo drive unit makes the lens suitable for use as a standard PL lens or as an ENG-Style lens. For a recent Home Shopping Network (HSN) fall fashion commercial, Timur relied exclusively on his Fujinon 19-90 lens mounted on a RED Epic Dragon camera for the nearly 15 hours of footage he shot. “We were able to shoot through a variety of setups in the day using only the Cabrio. It saved us a lot of time and energy.”

On another recent shoot—this time a nighttime production for FILA’s TMNT shoe—Timur again shot with the Cabrio lens on a RED Epic Dragon. “The FUJINON lens covers 6K on the RED camera, so it produced full sharpness and breadth at the center. The lens is still sharp, even at the edges of the frame, with no soft corners. The Cabrio has a certain clarity that’s hard to explain.”

We’ve loved witnessing the results of Timur’s usage of our Cabrio lenses, and can’t wait to see what he does next. Learn more about his work on his website.

Have questions or comments about Fujinon lenses? Connect with us on our Facebook page, or tweet us.
Posted: 2/11/2015 1:13:38 PM by Thom Calabro | with 0 comments

When AbelCine, the well-respected New York-based equipment reseller and rental company, saw the PL 19-90 Cabrio ZK4.7x19 lens for the first time at NAB, they realized it would be an excellent addition to their sales and rental inventory of Fujinon lenses.

A part of the PREMIER PL Mount Zoom family, the lightweight and compact lens features a first for cine-style lenses: an exclusive detachable servo drive unit that makes it suitable for use as a standard Cine PL lens or as an ENG-Style lens.

AbelCine has received dozens of the PL19-90 lens, which they have sold or rented to a range of clients, including rental houses, production companies and directors of photography.

According to Pete Abel, President and CEO of AbelCine, customers of the PL 19-90 lens include DP Jonathan Furmanski, whose resume includes a long list of documentaries, television series, feature films, commercials, and music videos; production company Zero Point Zero, whose current projects include Anthony Bourdain: Parts Unknown, set to air next spring on CNN, and Meat Men on Food Network; and full service rental house Chater Camera, located in Northern California.

Have questions about the PL 19-90 or any of our other professional lenses? Leave a comment here, on our Facebook page, or tweet us.

Posted: 1/28/2013 11:40:48 AM by Thom Calabro | with 0 comments

In this installment of our Lens Care Maintenance series, we’ll review proper ENG lens storage techniques. Over time your gear will degrade due to normal wear and tear. But maintaining your equipment through proper cleaning and storage before and after you use it will extend the life of your lenses.

Having a secure place to put your lenses, and really all camera gear, is the key to properly maintaining equipment. By watching this video, you’ll find that most steps you should take to protect your lenses are based on common sense. Here are some to consider:

•    When you are not toting your equipment around, remove the camera and all lenses from your     camera bag.

•    Place your camera and lenses into an airtight storage container. Place four or five silica gel packets into the airtight container with the equipment.

•    Seal the container and store it in a cool, dry place.

•    Most importantly, do not place cleaners or any potentially damaging materials in the case with your camera. A single leak can be catastrophic to your precious – and expensive – equipment.

•    Prevent lens condensation by placing your camera in a sealed plastic bag before bringing it from cold temperatures into a warm environment. Keep the camera in the bag until it reaches room temperature. This will not only reduce delays, but more importantly, it may keep condensation from forming inside the delicate mechanisms of the camera and the lens

There is no substitute for proper care and maintenance of your cameras and lenses. Consistently taking the time to properly store your equipment before and after each shoot will make activities like lens cleaning easier in the long run, and will ultimately result in your equipment lasting longer.

For more information on Fujifilm Optical Devices, go to Fujinon.com or FujifilmUSA.com. Follow us at www.Facebook.com/FujifilmOptical and www.Twitter.com/FujifilmOptical
Posted: 8/16/2012 9:45:36 AM by Thom Calabro | with 0 comments

Technological innovation in broadcasting is alive and well. New services for broadcast now go beyond HDTV, multicasting and mobile DTV and incorporate interactive experiences. One such experience that is already coming into living rooms is 3D.

Like any technology, the success of 3D relies on viewer acceptance. And nothing will speed acceptance more than quality programming. This means it is essential to understand the mechanics behind 3D shooting.

Lenses, of course, perform the vital act of image capture, which is the stepping stone for everything that follows. When it comes to 3D, lens controllers, as well as the lens design construction and the manufacturing processes used take center stage.

Controllers ensure that the various lenses track perfectly, both electronically and optically. They also help the cameras move in and out more easily and in perfect synchronization, which is critical in 3D shooting. Another critical element is setting depth of field properly, especially in close ups, over the shoulder shots and other narrative scenes. It is the difference between having a 3D program look cartoonish or having it appear as though it is actually taking place in the viewers’ living rooms.

Lens construction and the manufacturing processes are essential as well. That’s because 3D shoots involve two cameras, so each lens must be of the same focal length, with zoom and focus positions moving in perfect synchronization. If this doesn’t happen, the picture will not come together properly. Aligning the optical axis exactly can take work, primarily because the beam splitters and image sensors may not align accurately.

Lenses from Fujifilm Optical Devices are constructed in a way that ensures the synchronization process happens smoothly and successfully. That’s why some of the most distinguished 3D houses have converted to Fujinon lenses.

Generally, lenses of the same specification are closely matched. But when they are measured with a collimator—a device for aligning lenses—they often differ slightly, which means shooters can end up wasting time searching for two accurately aligned lenses.

Fujinon lenses are optically and electronically matched, with precision zoom and focus servos that allow the control system to synchronize the left and right camera lenses for 3D, and offer pinpoint operational accuracy. This can simplify the process, and reduce set-up and shooting times significantly.

For more information on Fujifilm Optical Devices, go to www.Fujinon.com, or follow us at www.Facebook.com/FujifilmOptical and www.Twitter.com/FujifilmOptical.
Posted: 12/16/2011 11:22:07 AM by Thom Calabro | with 0 comments

When David Linstrom agreed to be Director of Photography for the National Geographic special, Oceanus, with oceanographer Bob Ballard of The Titanic discovery fame, he knew he would be shooting in a tricky environment. As he packed up his camera supplies, he made sure not to forget his favorite lens—the Fujinon HA13X4.5. We were recently lucky enough to ask Mr. Linstrom a few questions. Read on to learn more about his early days, how he combats challenging shooting conditions, the future of cinematography and more.
Q: You shot the upcoming Oceanus special for National Geographic with Bob Ballard, otherwise known as the oceanographer that discovered the Titanic, among other famous ships. What were you most looking forward to about the experience?

A: Working with someone as renowned as Bob Ballard was a great experience. His wealth of knowledge about our oceans is amazing, his list of accomplishments is legendary and he's a very nice guy. He's interested in other people and what they do day to day and he's not afraid to go out on a limb. I shot him putting on a harness and stepping out of a helicopter to be lowered 100 feet onto a moving cargo ship.

Q: Is there one instance you can pinpoint that turned you on to cinematography?

A: I started as a still photographer. I was always fascinated with photos of people and places from around the world. I grew up fascinated with Life magazine and National Geographic. Then I took a cinematography class in college and quickly forgot about shooting stills. Don't get me wrong, I have nothing against the still image. It's just that the moving image appealed to me so much more. I have a deep love for non-fiction and the wealth of stories from around the globe. There's something about moving images, sound, editing and narration that when combined, make for an amazing experience.

Q: What do you view as emerging trends in cinematography today?

A: The most obvious trend is digital. Film cameras, which didn't change much for over one hundred years, are quickly becoming obsolete. Arri is no longer making them, neither is Panavision. Professionals are using consumer digital cameras to make fascinating images. It just keeps getting better. The cameras get smaller, sometimes to a fault. As an operator, I like a heavier camera. I like the mass, the ergonomics of it. Up to a point. I certainly don't long for the days of a 40-pound camera on my shoulder or of all the cases I use to schlep around the world.

Q: What are the most significant changes in filming from when you started until now?

A: I started shooting on 16mm film. That went away a few years ago and I don't see it coming back.

Stay tuned in to our blog for part two!
Posted: 11/30/2011 4:41:18 PM by Thom Calabro | with 0 comments


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