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 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

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

Lenses are the first entry point for light in all content acquisition. With the ever-increasing amount of 4K production for both television and movies, extremely high optical technologies and mobility are required to satisfy this new level of enhanced, high-quality filming. It is important that those on the front line and cutting edge of motion picture production have the support they need to be truly successful and raise the bar in filmmaking.

We believe that technology should allow professional shooters, DPs, and others to explore the possibility of creating new images that represent the broad range of human emotions. Of course, developing tools such as the well-received CINE family of premium film and digital cinematography lenses is only part of the support that needs to be offered.

Creating resources to learn how innovators are using technologies to capture the most dynamic shots is another important support tool. That is why we created – and are proud to unveil – our new website: Special CINE Lenses. It features detailed trial reports, compiled by industry leading production professionals, that examine the capabilities, performance, and quality each of our lenses offers and how to use them to achieve the best possible shot.

The new website is dedicated to providing visitors the closest possible experience to using and evaluating the lenses themselves. It offers the visuals, details and answers to questions that industry professionals look for, because it was compiled by the very same experts who understand the need for those answers.  This website is meant to act a true resource for those who care about the fine details, performance, and quality of their glass.

Field Report: Ellroy Inc.
Nothing can explain the benefits of a technology than a real-world experience. That is why field reports from industry leaders are a big part of the content. The first is entitled Will the ZK Series Revolutionize Advertising Photography? A Cutting-Edge Video Production Firm Takes an In-Depth Look. This report is a thorough hands-on investigation conducted by renowned Tokyo-based video production group, Ellroy Inc., to disprove the common perception that zoom lenses fall short when it comes to image quality.

Fujinon’s goal in developing the ZK Series was to create a zoom lens with optical performance on a par with that of a prime lens. If you believe that PL primes are superior to PL zooms, then you are likely to scoff at this notion, and you are not alone. Fujinon and Ellroy’s extremely talented industry professionals, however, show that the ZK series offers the same level – and in certain situations – higher quality. 

Ellroy’s pros shoot with single-focus prime lenses every day, are well-versed in capturing video and still images at 4K, and even offer professional services for 6K video shoots. Their portfolio of accomplishments spans genres, such as advertising to film, drama and television.

After performing extensive field tests and analysis using the ZK series, Ellroy’s findings – including detailed product specifications, verification and quality tests that span wide parameters – and  conclusions were compiled into the trial report. The report is easy-to-navigate, guiding readers through product specs, on site usability, and conclusions. Quality tests and comparisons focusing on resolution, distortion, and color can be viewed through flat imagery and also through video. Readers are also provided with a complementary takeaway; a downloadable copy of the Fujinon CINE Lenses Catalog

To find all the details and conclusions Ellroy’s team uncovered during its investigation, visit Fujinon’s Special CINE Lenses website and read through the trial report.

Posted: 1/19/2016 1:47:23 PM by Thom Calabro | with 0 comments

It was standing room only at the recent Fujifilm 4K Day held at the Digital Motion Picture Center (DMPC) in Culver City, California on August 13, with attendees eager to discover what makes a 4K lens truly 4K. The crowd—a cross section of DPs, engineers, company executives, and TV and film rental house personnel— got to see the much buzzed about 4K PL-mount Cine-Style and Ultra HD lenses for 2/3-inch broadcast cameras operating side by side and participate in a Q&A following detailed presentations by Fujifilm executives about the nature of 4K optics.

10 4K Fujinon zoom lenses were on display throughout the day: a mixture of 25-300mm Cabrio (ZK-12-25) PL mount cine lenses, UA80x9 4K Ultra HD field lenses for 2/3-inch broadcast cameras, and UA22x8 4K Ultra HD portable zoom lenses for 2/3-inch broadcast cameras. The 25-300mm Cabrio was shown in both Cine and Broadcast style on a Sony F55 broadcast studio camera. The UA80x9 and UA22x8 lenses were shown on Sony HDC-4300 4K broadcast studio cameras.

Until recently, our 4K customers have been mainly in digital cinematography, but the introduction of our 4K UHD 2/3-inch lenses has widened our 4K clientele to include the broadcast and video production markets. This event was designed to showcase our PL mount and Ultra HD lenses together, taking the time to demonstrate what we at Fujifilm mean by 4K in optics.

Fujifilm has three design goals each 4K lens must meet: high 4K resolution, high dynamic range (HDR), and high contrast— each equally important: We also firmly believe a 4K lens is not just 4K in the center but extends to the outer edge of the image. Another part of reaching 4K is the precision of the movement of the glass. To that end, Fujifilm adopted a new mechanical design, originally developed for the Cine-Style lenses, to move the focus and zoom glass. The choice of glass material, how much glass, and the placement of the glass also plays an instrumental role in performance.

The presentations that took place addressed the electronic and mechanical designs, specialized HT-EBC (High Transmittance Electron Beam) coatings used to achieve true 4K optical quality. With 16-bit encoders in the zoom and focus controllers, as well as in the lens itself, the interaction between the controllers and the lens provides a greater level of precision than was possible previously. As the electronic movement becomes more precise, so does the creation of the lens.

Additionally, FUJIFILM’s IS-mini Rack 4K image processing system used for on-set camera preview and monitor calibration adjustment for film shoots was shown on a Sony F55 4K CineAlta camera at the open house. Product specialists were on hand to discuss the company’s approach for accurate ACES color management workflows, from on-set grading to final delivery.

The event was so well received that Fujifilm plans to hold similar meetings across the country.

Were you there, or are you interested in attending an upcoming 4K Day event? Send us feedback or ask us a question on our Facebook or Twitter pages!

Posted: 9/21/2015 5:04:20 PM by Thom Calabro | with 0 comments


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