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 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
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The Fujifilm Optical Devices Division
team will be at the World Cup
in Brazil this summer! We won’t be on the field, but we will have two technical support centers on site to provide customer service and support to our broadcast lens
customers during the big event, from June 12th through July 13th.
One service centers will be located in Rio de Janeiro and in Sao Paulo. During the entire World Cup, we will have engineers available at each technical center to support Fujinon lens customers. Hours of operation during the matches will be from 9:00 a.m. through 18:00 p.m.
The Rio de Janeiro technical support center will be located at the following address:
Camera – 2 Video Films
Rua: Visconde da Graca 43 e 63
Jardim Botanico CEP 22461-010
Rio de Janeiro, Brasil
Tel: 55-21-2294-9391, 55-21-3874-0146
For assistance in Rio de Janeiro, Fujinon lens customers may also call:
Karla Alvera, cell: 55-21-7836-5839, e-mail: email@example.com
Jorge Delgado, cell: 55-21-8133-1533, e-mail: firstname.lastname@example.org
The Sao Paulo facility will be located at the following address:
Rua: Brigadeiro Jordao, 113
Ipiranga, Sao Paulo
CEP 04210-000 Brasil
For assistance in Sao Paulo, Fujinon lens customers may also call:
Flavia Trevisan, cell: 55-11-8789-2770, e-mail: email@example.com
Umberto Trevisan, cell: 55-11-7757-9034, e-mail: firstname.lastname@example.org
Ademir Santos, e-mail: email@example.com
The World Cup is a crucial event for many of our customers, especially with the popularity of the game reaching an all-time high, both domestically and internationally. Everything has to work perfectly, and we do everything we can to support them in producing the best possible images. As we did during the Sochi Games in Russia, we’ve established technical service centers staffed by knowledgeable technicians to communicate with our customers directly from the event’s home cities.
Have questions about Fujinon’s technical support capabilities at the World Cup? Reach out to us on Facebook
Posted: 5/27/2014 10:29:16 AM
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Fresh off a successful NAB Show, the Optical Devices Division of FUJIFILM North America Corporation is taking our “show” on the road again, this time heading to the Cine Gear Expo
, being held from June 5-8 at The Studios at Paramount in Hollywood. There, we’ll showcase the entire range of Premier PL 4K+ cine lenses
, as well as the Cabrio 4K cine lens series.
The Premier PL 4K+ Series features the fastest T speeds available in a family of zooms, with unprecedented color matched 4K and beyond optical performance. The 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400mm T2.8-T3.8 will all be on display. All four PL Mount zooms are similar in size and weight, and uniform gear placement and front barrel diameters (136mm). Focus, zoom, and iris gears are all in the same position—which speeds up lens changes, since follow focus accessories and lens motors can stay in the same position on the rods. Focus barrel rotation is a uniform 280 degrees on all four zooms.
Our Premier PL 4K+ lenses have been used by several acclaimed DPs for feature films including Life of Pi, Oblivion, and Iron Man 3.
Introduced at the April NAB show as the latest addition to our popular series of cine zooms, the FUJINON Premier PL 25-300mm Cabrio [ZK12x25] will be on hand with the rest of the Cabrio series at Cine Gear. Equipped with a 35mm PL mount, the PL 25-300mm boasts a high zoom ratio covering the focal length of 25mm to 300mm. The PL 25-300mm
supports an optional detachable servo drive for electric zooming, focusing and iris. Mounting the unit enables remote control of zoom, focus, and iris adjustment.
FUJINON’s popular Cabrio series includes the new PL 25-300mm (model ZK 12x25), PL 19-90 (model ZK4.7x19), PL 85-300 (model ZK3.5x85) and PL 14-35mm (model ZK2.5x14). All Cabrio lenses feature exclusive detachable servo drive units, making them suitable for use as a standard PL lens or as an ENG-style lens. The servo drive on the new PL 25-300 is optional, the rest come as standard. Each can be controlled using cinema industry standard wireless controllers, as well as existing FUJINON wired and wireless units.
Designed using the latest proprietary optical simulation software, the entire range of Cabrio lenses offer exceptional optical performance in the center of the image and in 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. The zooms support Lens Data System (LDS) and /i Technology metadata formats, and are equipped with flange focal distance adjustment, a macro function for extreme close-up focus, and coverage of a 31.5mm diagonal sensor.
Several TV series and feature film productions—including a few 3D features—are currently using Cabrio lenses.
Cine Gear is one of our favorite shows because it not only draws an audience of key decision makers in entertainment production, but it is also attended by some of our most loyal customers. We always look forward to connecting with these people and meeting potential new users during this show, especially this year, when we’re so eager to show off our Premier 4K+ and Cabrio zooms!
Have questions about these lenses or the Cine Gear Expo? Connect with us on our Facebook
page, or tweet us
. Better yet, if you’re attending the show, stop by our booth
Posted: 5/20/2014 10:56:01 AM
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The NAB Show is always an exciting event for us here at the Fujifilm Optical Devices Division, and 2014 was no exception. We were thrilled to introduce our Premier PL 85-300 Cabrio
field production lens, and HA18x5.5
HD ENG lens.
Attendees welcomed the new lenses and upgrades for broadcasting, sports, digital cinematography, and production applications with expected curiosity and enthusiasm. For those of you unable to make the trip to Las Vegas, or couldn’t stop by our NAB booth, here are some highlights.
Capping off an already stellar event for Fujifilm was winning a StudioDaily Prime Award
for our Cabrio Series PL Mount lenses. According to the award’s organizers, finalists represent the top tier of new technology, creative thinking, and high-end craftsmanship in media and entertainment. The awards spotlight engineering excellence, usability, and value in technology products, and winners are selected based on the criteria of Features, Innovation, Value, and Ease of Use. We are honored to receive this award.
Photo Credit: Mark J. Pescatore
One of the highlights of our booth this year was a series of posters featuring testimonials from some of the industry’s most distinguished professionals spanning the industry, from cinematographers to engineers. Here are a few sound bites of what they had to say about Fujinon lenses:
“When I came across Fujinon’s 19-90, 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.” - Tobias Schliessler, ASC, Cinematographer
“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
“The quality of the lenses has always been excellent, and from a technical standpoint it meets all our requirements.” - Tom Dickinson, Chief Technology Officer, Bexel
“The encoding, quality and configuration the lenses are the best combination for our clients.” - Sam Nicholson, ASC - CEO and Founder, Stargate Studios
“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.” - Otto Nemenz, Owner, Otto Nemenz International
“The focal range, weight and quality put the Cabrio series in a class of its own.” - Erik & Oliver Schietinger, Owners, TCS
“Camera operators who specialize in Entertainment shows prefer Fujinon lenses because of their smooth servo "feel," useful lens features, and reliable performance.” - Keith Winikoff, Technical Director and Video Engineer for Entertainment and Live Award Show Productions
“The 18-85 has raised the bar on optical excellence.” - Eric Steelberg, ASC, Cinematographer
“For handheld work, there just isn’t anything that comes even close.” - Bill Sheehy, Director of Photography
“Fujinon produces the most exceptional products in the industry, but they also provide unparalleled support.” - David Lemmink, Director of Engineering, PRG Nocturne
“They are sharp, no distortion, and are beautiful wide open.” - Claudio Miranda, ASC, Cinematographer
“Their new Cabrio line is the ideal mix of a cine-style lens with familiar broadcast-style controls.” - Danny Walters, Director, Remote Engineering, Music Group, Viacom Media Networks
“The Cabrio 19-90mm is gorgeous, balanced, and the perfect range for vérité shooting.” - Tom Curran, Director of Photography, Night Train Pictures, Inc.
Stay tuned, because next time we’ll share the full testimonials so you can see exactly how these pros are using our lenses.
Have questions about Fujinon lenses, the NAB Show, or something else? Connect with us on our Facebook
page, or tweet us
Posted: 5/13/2014 9:23:44 AM
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The 2014 NAB Show
has begun, and we at the Optical Devices Division of FUJIFILM North America Corporation are thrilled to share our latest and greatest lenses with the audience. In addition to the NAB debut of the Premier PL 14-35mm Cabrio wide-angle lens
[ZK2.5x14] and the XA55x9.5 HDTV Telephoto Box Style lens, as discussed in our last blog
, we have a few more exciting debuts lined up.
We keep a close eye on what our customers are looking for, and with its capability of shooting very wide but also at long range, the Premier Series HA18x5.5 delivers. The lens, which offers 18x zoom from 5.5mm at the wide angle to 100mm on the telephoto end, features high-precision, large-diameter aspheric elements designed with Fujifilm’s proprietary cutting-edge optical simulation technology, achieving sharpness at the center and all corners to deliver edge-to-edge premium image quality. Sports producers looking for a lens that can go wide and still follow the action will certainly want to check out the HA18x5.5, but it’s also a solid all-around lens that can shoot interviews, documentaries, and other applications typical for a standard telephoto lens.
The HA18×5.5 allows its operator to approach objects up to a minimum distance of 40cm, and with the built-in 2X extender the focal length on the telephoto end can be extended to 200mm. These features accommodate a broad range of scenes to dramatically improve usability in a variety of shooting environments, including live news, sports and dramatic program production.
Other features include built-in digital servo drive units for zooming and focusing; an ergonomic design that reduces the weight for camera operators working handheld; and a 16-bit encoder, which outputs focus and other lens data at high resolution, enabling compatibility with various systems such as a virtual studio programs and combining CG with live footage.
Also joining the Fujifilm Optical Devices family of professional lenses is the Premier PL 25-300mm Cabrio
. The latest addition to our popular series of cine zooms, this lens is equipped with a 35mm PL mount, boasting a high zoom ratio covering the focal length of 25mm to 300mm. Like all Cabrios, the PL 25-300mm supports an optional detachable drive unit for electric, zooming, focusing and iris. Mounting the unit enables remote control of zoom, focus, and iris adjustment. It can be used as a self-contained ENG-style or cine style lens. When used without the drive, industry-standard cine motors can be fitted.
Designed using the latest proprietary optical simulation software, the PL 25-300mm offers exceptional optical performance in the center of the image and in 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. The zoom supports Lens Data System (LDS) and /i Technology metadata formats, and can be controlled using cinema industry standard wireless controllers, as well as existing FUJINON wired and wireless units. Both lenses will be available in June.
You won’t want to skip our booth (#C7025
) at NAB this year; in addition to these exciting new products, we’ll be broadcasting a presentation that features commentary from several of the industry’s top cinematographers, including Claudio Miranda
, testifying to the unsurpassed versatility and image quality of the FUJINON cine-style lenses.
Have questions about these lenses or the NAB show? Connect with us on our Facebook
page, or tweet us
Posted: 4/7/2014 9:42:49 AM
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