Fujifilm Optical Division Blog
If you haven’t watched the first two parts of our “Binoculars 101” series, you may want to take a few minutes to catch up on the basics, including the two main types of binoculars. With that foundation of binocular configurations, styles and applications, you’ll be ready for this tutorial on how binocular lenses operate. You can watch the full video by clicking below.

We’ll begin with the Exit Pupils. To locate them, simply hold a pair of binoculars at arm’s length and look for the disks of light that appear to lie on the surfaces of the eyepieces.

The Exit Pupil is the virtual aperture in an optical system. It’s important because only the light which passes through it can enter your eyes. So, all other things being equal, the larger the exit
pupil, the more light will be delivered to your eyes, providing greater brightness.

To calculate the exit pupil of any binocular, take the effective diameter of the objective lens and divide by the magnification. For example, a 7x50 has an exit pupil of 7.1, as you divide 50 by 7. An 8x20 exit pupil is 2.5—the results of 20 divided by 8. If all the other specs are the same, the 7x50 will have a brighter image than the 8x20.

The ideal exit pupil diameter depends on your application. Large exit pupils are an advantage in low light conditions. Most compact binoculars with smaller exit pupils are sufficient for the daytime but quickly degrade as the amount of light decreases.

When it comes to the big picture, your landscape is called the Field of View, or FOV. This is the horizontal width of the image you can see at a given distance. In binocular specifications, it is usually expressed as the number of feet at 1,000 yards. It is also expressed in degrees—as in angles—known as Real Field of View.

The higher the magnification, the narrower the Real Field View will be. To convert the angle into linear form—or feet—simply multiply the angle by 52.5. So, if the angle for a 7x magnification is 7 degrees, then you take 7 times 52.5 to get a Real FOV of 367 feet.

Now that you have a handle on Exit Pupils and Field of View, we can move onto Interpupillary Distance, or IPD. Binocular barrels rotate around a hinge so the user can line up the eyepieces with their eye pupils. Normally expressed in millimeters, the IPD measures the distance between the centers of a binocular’s two eyepieces and the distance between the centers of a user’s eye pupils. When the IPD on a binocular is correctly set, you will see one circle in the viewing area—not two, as Hollywood often incorrectly depicts.

Full-size binoculars work well for the majority of people. Since compact double-hinge binoculars generally have a narrower IPD, they work well for anyone who has a very narrow IPD, such as a child.

Fujinon binoculars have a typical Interpupillary Distance of 53-74mm, depending on model.

If you are reading this through a pair of eyeglasses, it’s important to note that every binocular has what’s called Eye Relief. This is the distance between the eyepiece and your eye, where you can obtain a full Field of View, and it only affects people who wear glasses. If the Eye Relief is insufficient—or short—vignetting will occur around the edges for those who wear glasses. More specifically, binoculars with Eye Relief of 10-12mm typically won’t allow an eyeglass wearer to get the full field of view. On average, you’ll need at least 15mm of eye relief. 

Fujinon binoculars have Eye Reliefs that range from 15mm-23mm, depending on model and magnification. It’s a good idea to test out any pair of binoculars with your glasses on to determine if the eye relief is sufficient.

There’s one final, key aspect to binocular lenses, and that’s Apparent Field of View. This is the angle your eye would move through if you looked at one edge of the field and scanned over to the opposite edge. To get the value of the Apparent Field of View, simply multiply the magnification by the Real Field of View. For example, if the magnification is 7x and the real FOV is 7 degrees, multiply 7 by 7 and the Apparent FOV is 49 degrees. The rule of thumb is that an Apparent Field of View more than 62 degrees is considered to be a wide angle binocular.

If you’ve watched the other two videos in this series, you now have almost all the information you need to make an educated purchase. You know what the two types of binoculars are, how the lenses work, and their basic components and applications. There’s just one more area you need a primer on: coatings. Lucky for you, that’s our next and final video in this series! Tune in to our YouTube channel to view the whole series and visit our website to learn about Fujifilm USA’s full line of binoculars boasting high optical performance and reliability for a vast range of applications.

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

Posted: 7/12/2016 1:57:42 PM by Thom Calabro | with 0 comments

The team here at Fujifilm Optical Devices will be participating in next week’s Sports Video Group’s League Technology Summit. The event, which takes places at the New York Hilton December 10-11, aims to bring the sports industry together to share best practices and new technologies in sports production and we’re happy to be a part of it!

Thom Calabro, Fujifilm Optical Devices’ Director of Marketing and Product Development, will be a panelist on the Camera and Lens Technology Update, where the discussion will focus on what’s in store for cameras and lenses in 2013, as well as what issues manufacturers and their customers face (December 10th at 3:00).

FUJINON’s new XA99x8.4 ultra-wide field production lens will also be on display in the exhibition hall. Offering a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m, the lens features an anti-fogging design to minimize lens fogging, and a patented image stabilization technology for rock-steady performance. Ideal for producing live sporting events, the XA99xUltraWide telephoto zoom lens includes FUJINON’s DIGI POWER digital controls, Quick Zoom, two-shot presets, a 2X extender, and comes standard with high-resolution 16-bit encoders. Other features of the lens include FUJINON’s exclusive High Transmittance Electron Beam Coating (HT-EBC), resulting in richer colors and greatly improved blue response and transmittance. HT-EBC, coupled with FUJINON’s exclusive Aspheric Technology, reduces ghost, flare, chromatic aberrations, and increases light transmission at all focal lengths.


Keynote speakers of the summit are George Bodenheimer, Executive Chair, ESPN; Ed Goren, former Vice Chairman of Fox Sports Media Group; and Frank Golding, YouTube, Head of Sport for North America. A full rundown of the event can be found here:


We hope to see you there! 

Have questions about the panel or new lens? Leave a comment here, on our Facebook page, or tweet us

Posted: 12/9/2012 9:43:10 AM by Thom Calabro | with 0 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.

For more information on Aerial Filmworks visit http://www.aerialfilmwork.com/.

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: 5/23/2012 11:10:12 AM by Thom Calabro | with 0 comments

1. Is there one instance you can pinpoint that turned you on to photography and cinematography?

In high school, I was always the kid that could not quite figure out the whole social scene. When I discovered photography, my whole world opened up to new ways of communicating. I could now create an image and get really interesting responses from people.  
2. What do you view as emerging trends in cinematography today?

For me, creative trends are far more interesting than technology trends. In our business, we are seeing the need to have aerials, or establishing shots, in all productions from full scale nature documentary to reality shows to indie films. Aerials are unique in their power to set a place and mood for the film.

Planet Earth established the Cineflex V14HD as the "must have" camera for any nature documentary. Now, almost every "Made for TV" program needs aerials.

3. What were your FIRST and BEST experiences using the revolutionary Cineflex HD technology?

Everyday! I absolutely love exploring new landscapes and communicating the beauty of the planet with the Cineflex and Fujinon lenses. My personal favorites are The Andes mountains, glaciers, Grand Canyon, and filming volcanoes. Lately, we have been working in Latin America where the landscape is just now being explored with the Cineflex camera systems.
4. You started working mainly in fashion, annual report photography and advertising.  How did you transition from that to the range of everything you do now?

I think anyone starts business with the opportunity at hand. I was based in Charlotte, NC when I started business 30 years ago. At that time, the only work was from textile mills and banks. My only business strategy was to differentiate my studio by specializing in location work rather than studio. From my start in commercial work, I then produced images for license as stock for many years before moving to aerial HD video. As a caveat, I have been shooting aerials for many years, so moving into aerial film was an easy transition. Creating aerial video is really just creating many, many still images in sequence. Every image composition must be perfect, and transition into the next image.

Stay tuned in to our blog for part two!

For more information on Aerial Filmworks visit http://www.aerialfilmwork.com/.

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: 5/9/2012 10:06:37 AM by Thom Calabro | with 0 comments

Andy Brandy Casagrande IV, known to most as Andy Casagrande, is one of the world's top wildlife cinematographers. Despite his busy schedule, which includes a new series on National Geographic WILD, several shows for the Discovery Channel’s annual, highly anticipated Shark Week and countless other projects, he took some time to talk to us about his life, his work and his love of Fujinon lenses.
Fujinon: You have shot in places people usually only hear or read about, and many of those locales have some pretty challenging environments. From an operating perspective, what is probably the biggest obstacle you've faced during a shoot and how do/did you combat it?
Andy: The biggest obstacles I have had to overcome while operating cameras and high-tech gear in the field have always been related to weather. If it's too hot, the cameras overheat. I’ve even had some melt! If it's too cold, the cameras can freeze and the electronics fail to function.  Shooting polar bears and lions have always been my most challenging project. Oh, and Great White sharks are not easy either!  Salt water & electronics do not mix…and neither do sharp teeth and soft flesh!
Fujinon: You mentioned that you used the Fujinon 25x lens to capture footage of polar bears—polar bears that, it should be mentioned, you waited SIX MONTHS for in the freezing Arctic (pictured right). After all that time and dedication, there's no doubt it was a shot that meant a lot to you. Why that lens?  
Andy: I use Fujinon lenses because they are some of the best in the world. I chose the 25x Fujinon lens to film the polar bears because it is an extremely light and compact lens but it packs a very powerful punch. Amazing range, super sharp images and so small—I love it and it's perfect for wildlife filmmaking!
Fujinon: Is there one instance you can pinpoint that turned you on to cinematography?
Andy: I was born with an extreme fascination of Great White sharks. These predators are what inspired me to become a wildlife filmmaker.
Fujinon: Wildlife clearly has you intrigued, both personally and professionally. What is it that draws you to this type of work versus another category?
Andy: I'm not a people person and I try to stay way from people as much as possible. Animals don't complain and take too long to put on their make-up, they don't make bad jokes, etc.  I was just born this way; I love wildlife.
Fujinon: What was your first "big break" in this industry?
Andy: I was working as a research cameraman in Cape Town, filming and photographing Great White sharks for science. Then, National Geographic came down to Cape Town to deploy its “Crittercams” and make a documentary with the scientists I was working with. After the shoot, they offered me a full-time staff job in Washington, D.C. as a filmmaker in their Natural History Unit.

Fujinon: Your new show for National Geographic WILD, "Killer Shots," premiered just this month. For those who haven't seen it, what can they look forward to and is there anything you'd like fellow cinematographers to take note of?
Andy: Yeah, “Killer Shots” is a cool series. I focused on Great White sharks, lions, cheetahs and polar bears. It's a cool concept because it's a behind-the-scenes show about what it takes to be a wildlife cameraman and bring home some “Killer Shots.” I used all types of the latest advancements in technology, including rebreathers, slow motion cameras, infrared cameras, thermal cameras, remote controlled cameras, bite-cameras, tow-cameras, breach-cameras, etc., etc.—it was AWESOME!
Fujinon: There are a lot of “Shark Week” fans out there and you've done quite a bit of work on that series. In fact, you shot three shows for this year's “Shark Week.” What are some of the precautions you take when shooting in shark-infested waters, both for yourself and your equipment?
Andy: I don't take any special precautions aside from keeping my eyes open and my hands/legs/arms/feet away from the sharks’ mouths.
Fujinon: You have custom created some pretty nifty camera-rigged contraptions. What's the most inventive thing you've ever done with camera equipment to get your shot?
Andy: Tough question, but my bite-cameras have yielded some amazing images—images that I could not possible have gotten any other way…unless I got bit myself, which is not an option!
Fujinon: Is there anything else you'd like to add?  
Andy: Be nice to strangers and live the life you dream.
The Discovery Channel’s “Shark Week” starts July 31st at 9:00 p.m. e/p and airs through August 5th. Check your local listings for specific shows or view the full schedule here: http://dsc.discovery.com/tv/shark-week/tv-shows.html.  To learn more about Andy’s work, visit his website: http://www.abc4explore.com/ OR watch this ABC Nightly News piece: http://abcnews.go.com/Nightline/video/wild-nat-geos-killer-shots-14024961 To learn more about what Andy does as a National Geographic cameraman, go to: http://events.nationalgeographic.com/events/speakers-bureau/speaker/andy-b-casagrande/ To check out the video gallery from ‘Killer Shots” on National Geographic WILD, go to:http://video.nationalgeographic.com/video/player/nat-geo-wild/shows-1/killer-shots/
Posted: 7/29/2011 9:48:47 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