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

The 2016 NAB Show is just about a month away, and while we can’t tell you everything we’ve got planned, we can tell you that we’ll be showcasing the entire 4K Ultra HD Series, Cabrio PL Cine/ENG-style lenses and Premier PL 4K+ cine lenses, plus the popular XA55x9.5BESM 2/3 inch zoom and XA99x8.4 ultra-wide field production lens.
NAB is obviously one of our favorite shows, and with the lineup we’re planning, we know we’re going to get an enthusiastic response from the crowd. Connecting with so many of our customers, at all levels, is really what makes NAB such a valuable event for us. We’re talking to a really broad range of current and potential customers including broadcasters, DPs, dealers, rental houses and their customers, corporate customers, live event producers...you name it! We count on these people—people like you—to give us fair and honest feedback, and we find that’s exactly what we get. 
Here are some of the highlights you can expect:

The UA80X9 field lens and the UA22x8 portable zoom from the 4K Ultra HD Series are designed for broadcast applications and are compatible with 4K 2/3-inch broadcast cameras.
These lenses produce the same focal length range DPs and camera operators have come to expect with HD, but at a much higher resolution, contrast, and dynamic range. 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. As a frame of reference, its size and weight is similar to the popular XA99x8.4 field lens.

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.

The entire range of Premier PL 4K+ cine zoom lenses will also be present at the booth: the 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400mm T2.8-T3.8. With the fastest T speeds available in a family of zooms, the Premier PL 4K+ Series boasts unprecedented color matched 4K and beyond optical performance. All four PL Mount zooms are similar in size and weight, and uniform gear placement and front barrel diameters (136mm) enable quick and efficient lens changes.
In addition to the entire Cabrio series, which includes the PL 19-90, PL 85-300, and PL 14-35mm, the Premier PL 25-300mm Cabrio zoom will also be featured. All Cabrio lenses feature exclusive detachable servo drive units for electric zooming, focusing and iris. Mounting the unit enables remote control of zoom, focus, and iris adjustment.  The PL 25-300 servo is optional, eliminating the need for external, rod-mounted motors, which can take time to line up accurately. This makes them suitable for use as a standard PL lens or as an ENG-style lens. All Cabrio lenses can be controlled using cinema industry standard wireless controllers, as well as existing FUJINON wired units.
From the field lens category, Fujinon booth visitors will have access to the FUJINON XA55x9.5BESM 2/3-inch zoom and the XA99x8.4 ultra-wide field production lens. The XA55x9.5 HDTV Telephoto Box Style lens is designed for large venues that require tight shots from long distances. Available with a built-in lens support bracket for mounting on an ENG-style camera, this lens also features built-in optical image stabilization, making it ideal for any application where the camera operator must maintain a steady close up shot for long periods, such as sporting events, houses of worship, corporate presentations, or concerts.
The XA99x8.4 combines high-performance imaging, a long zoom reach, and an ultra-wide angle. It offers a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m. Especially of use with this lens is Fujinon’s patented image stabilization technology for rock-steady performance, which is especially critical for long-distance HD shots. High-resolution 16-bit encoders are also standard, making it suitable to virtual, robotic, and digital signage, among other applications.
Stay tuned for forthcoming news on developments in both the PL 4K and 4K Ultra HD Series!

Have questions about these products or the NAB Show? Connect with us on our Facebook page, or tweet us. Better yet, if you’re attending the show, stop by and see us! You can find us at Booth C7125 during the show, which runs from April 16-21 at the Las Vegas Convention Center.

Posted: 3/9/2016 11:59:10 AM by Thom Calabro | with 0 comments


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