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 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


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


Tags

James Buchmann Spruce McRee #FujinOnTheRoad . “High 101 11mm 14-35 14-35mm 18-85mm 19-90 19-90 Cabrio 2011 2012 20-120 20-120mm 2014 2016 25-300 25-300mm 25x 2K 35 35mm 3D 4K 5k 6k 8 80x9 85-300 ABC Abel AbelCine Aerial aerial shooting affordable Africa and Andy Andy Brandy Casagrande IV Andy Casagrande Anthony Arctic Arts Award Awards back focus Ballard basics Beam Bears Beast Beauty Best Bexel Bill Sheehy Binoculars bird watching bite-cameras Black Bleckley Blue Bob Bob Poole Bob Poole Films Boston Bourdain Box Box-lenses Brain Farm Bravo Brazil broadcast broadcasting Buck Buddy Cabrio Cabrio PL Calabro camera camera lens Cameron care Cassagrande CCD Channel Chapple Chater Chris Cine Cine Gear cine lenses cinegear cinema cinematograhpher cinematographer cinematographers cinematography cinemtaography City Claudio Miranda Coating” coatings Color Contrast controllers Creek Crittercams Crosscreek Crosscreek Television Productions Curt Morgan Daniel Danny Walters David David Lemmink def Definition Detachable Device Devices Diamond Digital Digital Motion Picture Center Director director of engineering director of photography Directory Discovery Distortion Division documentaries documentary DP drag DTV EBC Electron Ellroy, Inc. ENG engineers Eric Steelberg Erik Erik Schietinger ESPN events exit pupils Faulkner Festival field field lens field of view FILA film filmography Filmworks Flare focal focus fog-proof Food Fox Fuji Fujifilm Fujifilm Optical Fujifilm Optical Devices Fujifilm Optical Devices Division Fujifilm. FujifilmOptical Fujino fujinon Fujinon 42x Fujinon Cabrio Fujinon PL Cabrio19-90 Furmanski gear Geographic Geometrical glare Glass Gorongosa Park: Rebirth of Paradise Group Guy HA18 HA18x5.5 HA25X11.5BERD HD HDTV high High Transmittance Electron Beam High-Definition Home Shopping Network horse How how to HT-EBC image industry interpupillary distance iris IT Jackson Hole James Jonathan Jordan Maxham Keith Winikoff Keith Winikoff, Killer Las League length Lens lenses Light lightweight Linstrom Luis de Los Reyes Magical magnification maintenance McRee Meat MeatEater Men mini-box mobile Mossman mount Mozambique MTF NAB NAB Show NABShow National Network New NHK Night Train Pictures, Inc. nine-blade Noise NYC Ocean Oceanus of Oliver Schietinger Olympics optical optical stabilization OS-TECH Otto Nemenz Otto Nemenz International Paralympic Games Parts Paul Rodriguez PBS performance Pete Photography PL PL 14-35 PL 14-35mm Cabrio PL 19-90 PL 19-90mm PL 25-300 PL 25-300mm Cabrio PL 85-300 PL Mount PL primes PL zooms PL14-28 PL19-90 PL85-300 PLMount Point Polar Porro Prism Premier Premier PL 25-300mm Premier PL 25-300mm Cabrio Premier PL 4K+ Series Premier Series Premier Series HA18x5.5 PRG Nocturne prime lens production Productions professional professionals racing RED RED Epic Dragon reflectance reliability remove Rentals Report Reproduction Resolution Rio de Janeiro Rob Ron Roof Prism Rookie S35 Sales Sam Nicholson San Paulo Schietinger School Sensitivity sensor series servo servo drive unit shark Shark Week sharks SharkWeek shoot shooter shooters shooting shot Shots Show SIM SMPTE Sochi Speed Spike Spintec sporting events Sports Spruce Spruce McRee stability standard Stargate Studios steadi-cam StudioDaily Prime Award Style Summit Sundance Super support SVA SVG Talamas TCS technical center technical support Technology telephoto telephoto lens Television The Thom Thom Calabro Tiago Lemos Timur Civan tips Titanic to Tobias Schliessler Token Tom Curran Tom Dickinson Transmittance travel Trevisans truck Tstop Cinema LLC TV UA UA107x UA107x8.4 UA13x UA13x4.5 UA22x8 UA80x UA80x9 UHD Ultra Ultra HD ultra-wide Unknown USA Vegas Viacom video videographer videography Visual Voyager waterproof week whisperer wide wide angle lens wide-angle WILD wilderness wildlife Winter Games wireless World Cup XA50x9.5 XA55 XA55x9.5 XA55x9.5 telephoto zoom XA55x9.5BESM XA99 XA99x8.4 XK XK6x20 XT17 York YouTube Zero ZK series ZK4.7x19 zoom zoom lens zoom; ZPZ

Syndication

Fujinon Optical Division BlogRSS