Fujifilm Optical Division Blog
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.

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


Introduced at the NAB show in April, the first two lenses in its 4K Ultra HD Series for sports and entertainment applications are now available for delivery. The UA22x8 is the first portable zoom lens in the series, and the new UA80X9 is the first field lens.

Since their debut, these lenses have garnered attention for their 2/3-inch design, extended focal length and 4K optical performance. Everyone from long-form programming DPs to sports and news camera operators are excited about the range and resolution now offered in a 2/3-inch lens. 4K UltraHD productions can be produced with equipment that has the same “look and feel” capabilities of HD, but now with a premium picture quality.

With a compact and lightweight design, a 22× zoom ratio and a focal length from 8mm in wide angle to 176mm in telephoto, the UA22x8 excels in capturing a broad range of applications, including live sports, program production and news reporting. Utilizing cutting-edge optical simulation technology, the UA22x8 achieves both its 22x zoom and advanced optical performance. Its floating focus system controls multiple lens groups according to the shooting distance and delivers high image quality and high contrast images from close-up to infinity. It comes standard with a 16-bit encoder capable of high-resolution output of lens data, such as zoom and focal position information. Zoom and focus position data is divided in 16-bit resolution and output as electric signals. This lens can also be linked with other systems like virtual studio systems when combining CG images with live action footage.

With an 80x zoom and optical image stabilization, the UA80x9 is ideal for coverage of large-scale live events, such as concerts and sports. In addition to its advanced optical performance, the lens covers focal lengths ranging from 9mm in wide angle to 720mm in telephoto. Designed using the latest proprietary optical simulation software, the UA80x9 offers exceptional optical performance in the center of the image through to the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate. It can be linked with other systems, such as a virtual studio system for combining CG images with live action.

Fujifilm’s proprietary multi-layer coating processing “High Transmittance Electron Beam Coating” (HT-EBC) is applied to the lens for enhanced transmission and color reproduction. The lens also features the company’s unique “optical stabilization mechanism” as standard, which provides optimum adjustment to image shakes caused by vibration and wind. This makes the lens well suited for any application where the camera operator must maintain a rock-steady close up shot for long periods, such as sporting events, houses of worship, corporate presentations, or concerts.

We can’t wait to hear the feedback from customers after they’ve used them in the field. Drop us a line on our Facebook page, or tweet us to let us know what you think!

Posted: 7/23/2015 10:54:02 AM by Thom Calabro | with 0 comments


NAB 2015 was one for the books here at The Optical Devices Division of FUJIFILM North America. One of the highlights was receiving a "TV Technology" Best of Show Award for our new 4K Ultra HD Series of lenses. Both the UA80x9 field lens and UA22x8 portable zooms, which were introduced at the show, were developed in response to the market demand for 4K optics that would work with 2/3-inch broadcast cameras.
NewBay Media’s Best of Show Awards are judged by a panel of engineers and industry experts on the criteria of innovation, feature set, cost efficiency and performance in serving the industry.
The UA80x9 4K field lens has an 80x zoom and optical image stabilization, making it ideal for coverage of large-scale events. The lens covers focal lengths ranging from 9mm in wide angle to 720mm in telephoto. The FUJINON UA22x8 4K zoom lens features a compact and lightweight design, a 22× zoom ratio and a focal length from 8mm in wide angle to 176mm in telephoto. The UA22x8 excels in capturing a broad range of applications, including live sports, program production and news reporting.

Both of the lenses were designed using the latest proprietary optical simulation software. The UA80x9 and UA22x8 lenses offer exceptional 4K optical performance in the center of the image through to the corners of the frame. Fujifilm’s “High Transmittance Electron Beam Coating” (HT-EBC) is applied to the lenses for enhanced transmission, contrast, dynamic range, and color reproduction. The Fujinon lenses can be linked with other systems, such as a virtual studio system for combining CG images with live action.

As you can imagine, winning this award for the first in our series of 4K zooms for 2/3-inch broadcast cameras is thrilling. "TV Technology" is one of the most respected publications in the broadcast industry, and it means a lot to be recognized by them for these new lenses that we were so excited to unveil at NAB. We’re looking forward to seeing them in use for a variety of sports and entertainment productions! Both the Fujinon UA22X8 and UA80X9 lenses will be available by August of this year.

Have a question, or something to share? We’d love to hear from you! Connect with us on Facebook or Twitter
Posted: 4/24/2015 2:26:07 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


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