We had such a fantastic experience at NAB 2014, we’re still talking about it…but we’re not the only ones. For those who did not make it to Las Vegas this year, we’ve summarized “The Fujinon Experience” through a series of blog posts. Rounding out the recap, we bring you the words of some of the field’s most experienced and respected production, technology and engineering pros, as they appeared in posters featured throughout our booth.

“In our nearly 30-year history, we’ve always purchased Fujinon lenses for our six production trucks, and have put them through their paces. They are extremely reliable, and only require minor maintenance to keep them working properly. This kind of reliability is invaluable, particularly when working on a high profile assignment, such as the State of the Union Address, which we shot this year. One of the most challenging locations to use lenses is at The National Hot Rod Association’s drag racing events, which are extremely contaminated by gas fumes, car exhaust and burning rubber. If the lenses can stand up to these conditions, they can stand up to anything. The Fujinon lenses we’ve used are all securely weather proofed, so our engineers only have to do routine cleaning and replace front element lens filters to protect the front glass. Then, they’re ready to go.” - Spruce McRee, President/CEO, Crosscreek Television Productions

“We have had great success on all our virtual productions around the world using Fujinon lenses. The encoding, quality and configuration of the lenses are the best combination for our clients.” - Sam Nicholson, ASC - CEO and Founder, Stargate Studios

“I’m a longtime user of Fujinon lenses. The quality of the lenses has always been excellent, and from a technical standpoint it meets all our requirements. The Cabrio lenses in particular fit our niche market very well as a crossover between video and digital cinema. We buy those on a regular basis. We’ve also found the overall cost of ownership to be lower than competitors. Not only do we need fewer repairs on the Fujinon lenses, but when we do, it’s typically only for routine maintenance and service, and the costs are always lower than other companies. Plus, the service is great.” - Tom Dickinson, Chief Technology Officer, Bexel

“Since Nocturne Productions’ inception in the 1970s, we’ve only purchased Fujinon lenses and now have over 100 of their ENG, EFP and RoboCam lenses. Fujinon produces the most exceptional products in the industry, but they also provide unparalleled support. When we’re on a global tour with the biggest acts around, from Lady Gaga to The Rolling Stones, to Paul McCartney, they can’t stop in the middle of a show, and neither can we. If something goes wrong, it needs to be fixed right away, and the personal service I get from Fujinon can’t be matched.” - David Lemmink, Director of Engineering, PRG Nocturne

“We’ve been Fujinon customers here in the Nashville remote operations group for decades. There’s a reason we keep coming back. The quality and performance of Fujinon lenses is beyond reproach. Support from sales and service is unmatched, and they make a lens that meets our every need. Their new Cabrio line is the ideal mix of a cine-style lens with familiar broadcast-style controls. They were the natural choice for our entry into large-format imager technology.” - Danny Walters, Director, Remote Engineering, Music Group, Viacom Media Networks

“Fujinon’s new 99x has quickly proven itself as an effective tool for the "Entertainment and Award Show" side of the TV business. Awards shows such as the Oscars and Grammys need lenses with extreme optical and low light performance; they are placed into critical camera positions with challenging distances to the stage. Camera operators who specialize in these Entertainment shows prefer Fujinon lenses because of their smooth servo "feel," useful lens features, and reliable performance. Fujinon has earned a reputation in the live television production industry for quick and reliable service, emergency loaners, and dependable support.” - Keith Winikoff, Technical Director and Video Engineer for Entertainment and Live Award Show Productions

“The Fujinon Cabrio series has made a big impact on the way our clients shoot. Whether they shoot documentaries, live events or run-and-gun features, they love having the choice of a single PL-mounted zoom, where they might have had two zooms or set of primes. The servo motor serves ENG-style shooting flawlessly and it’s good enough for cinematic commercial shoots. The focal range, weight and quality put the Cabrio series in a class of its own.” - Erik & Oliver Schietinger, Owners, TCS

Have questions or comments about Fujinon lenses? Connect with us on our Facebook page, or tweet us.

Posted: 7/30/2014 1:27:04 PM by Thom Calabro | with 0 comments


NAB 2014 may be over, but our roster of accomplished and loyal customers is still going strong. If you attended the show and stopped by our booth, you undoubtedly noticed the many posters featuring some of the field’s most distinguished professionals, spanning the industry from cinematographers to engineers. For those who did not make it to Las Vegas, in a recent blog post we provided a sampling of the commentary that was featured. Now, we’re sharing it all. If you want to know how some of the most successful cinematographers are using Fujinon lenses in digital cinema, keep reading.

“I have used the Fujinon PL Zooms on my last two movies, Oblivion and Tomorrowland, and love them. They are sharp, no distortion, and are beautiful wide open.” -Claudio Miranda, ASC, Cinematographer

“I started using Fujinon lenses on Lone Survivor. The director, Peter Berg, wanted to shoot the film in a handheld, documentary-shooting style, switching focal lengths between takes instead of using prime lenses. When I came across Fujinon’s 19-90 at Keslow Camera, I was blown away. It holds the exposure consistently all the way through, and I love the image quality, sharpness, and how it holds the highlights. The lens flares are beautiful and I ended up using them as a lighting effect. It's the perfect handheld lens and it became my workhorse on Lone Survivor; I shot at least 70% of the film on the 19-90 and I don’t know how we could have done it otherwise.” -Tobias Schliessler, ASC, Cinematographer

“We’ve used Fujinon’s optical zoom lenses for the last 25 years. The first time I saw and tested the 18-85 PL Zoom lens, it was the best thing I’d ever seen and it’s still my favorite. Not only is it a T2.0 lens with an excellent range, but to me, 18-85 means I can put that lens on my camera, shoot 95% of all my interiors, and have excellent quality on film or digital. The T2 stop is extremely fast and honest; wide open, the zoom looks great. With all the zooms, like the 24-180 and the 75-400, when you focus, there’s hardly any breathing, and they match perfectly with Zeiss Master Primes and the Leica Summilux. They’re also extremely good with skin tones, so actors love them. We’ve used Fujinon’s zoom lenses on all kinds of pictures, including Iron Man 3, Dumb and Dumber, Fast and Furious 7, We Bought a Zoo, and RIPD, to name just a few. Quality-wise, they are the best there is right now.” -Otto Nemenz, Owner, Otto Nemenz International

“I grabbed the first Fujinon Cabrios in Hollywood and immediately put them on my new show, Real Husbands of Hollywood. I was impressed by the image quality and ergonomics. The director was thrilled—he could keep the spontaneity of the scene without having to wait for lens changes. This was a game changer for us. With the addition of the telephoto and wide versions, we can cover practically any shot with perfectly matching optics, with absolutely no compromise. We had some bigger, heavier lenses on the truck for special shots but we sent them back to the rental house once we saw what we had with the Cabrios. For handheld work, there just isn’t anything that comes even close.” -Bill Sheehy, Director of Photography

“Since I first used Fujinon’s 18-85mm, I’ve never gone back to another zoom lens. It’s the only one that gives you consistently superior optical quality from its widest setting to its longest setting, with no tradeoffs in between. The level of quality is something I’ve ever seen before in a zoom lens for digital cinematography and 35mm film. It’s a very fast lens that prevents me from having to make the kind of quality compromises other zoom lenses force cinematographers to make. The operation stays smooth and consistent in all kinds of weather conditions, and the lens hasn’t needed any maintenance or repair since I got it over a year ago. It’s given me a very versatile, capable tool to realize the director’s vision and the creative goals of the production. The 18-85 has raised the bar on optical excellence.” -Eric Steelberg, ASC, Cinematographer

“As a documentary DP, my lens is what brings me into the world of the story. The Cabrio 19-90mm is gorgeous, balanced, and the perfect range for vérité shooting.” -Tom Curran, Director of Photography, Night Train Pictures, Inc.
For even more insight, tune into our next blog, where we’ll share what some of the top production, technology and engineering pros have to say about using Fujinon lenses in broadcast and video applications.

Have questions or comments about Fujinon lenses? Connect with us on our Facebook page, or tweet us.

Posted: 7/15/2014 11:38:39 AM by Thom Calabro | with 0 comments


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