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
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One of the things we at the Fujifilm Optical Devices Division most look forward to is witnessing the vast range of outstanding work our loyal customers are able to produce with the help of their Fujinon lenses. One of the most recent examples of this is Emmy-winning wildlife cameraman Bob Poole’s phenomenal work on the PBS series, Gorongosa Park: Rebirth of Paradise
Born in America and raised in Africa, Bob embarks on an amazing adventure: spending two years living in Gorongosa National Park, Mozambique, Southern Africa, joining scientists and conservationists in the battle to re-wild this once-legendary national park. The three-part, six-hour series allows viewers to experience the incredible and inspiring rebirth of an African wilderness through Bob’s lens. In the years during which he worked in the Park, Bob used many different generations of HD, 2K and 4K cameras paired with the Fujinon HA25X11.5BERD HD lightweight telephoto lens
via a B4 to PL adapter. A long video lens is the only way to get close enough to the wildlife. We caught up with Bob just as the series premiered. Here’s what he had to say:
“My Fuji 25x lens was an essential piece of my kit on this series. Many of the animals in Gorongosa are skittish and afraid of people, for good reason. There was a long and terrible war that destroyed the park. Most of the animals were killed to feed hungry troops and now the ones that are left don’t like us very well. Now, the wildlife is coming back at an amazing rate, but it will take time for them to trust humans so it is hard to get close-up footage without a lens like the 25x. We shot in HD, 2K and 4K in the making of Gorongosa Park: Rebirth of Paradise
and I used my 25x with several cameras and in each format. I love the lens because it is both long and wide and I need to be quick. There is little time for lens changes in the middle of the action, and it is an action-packed series.”
Photo Credit: Gina Poole
This is far from the first project where a Fujinon lens has come in handy—to say the least—for Bob. "It is safe to say that the Fujinon 25x shaped my career. I work in remote, difficult and sometimes dangerous places where the shots I need are often far away from me. The lens is so powerful, yet light and fast. Because of the 25x, I’ve been able to get shots that stand out. Even now, shooting in 2K and 4K on PL mount cameras, the 25x is vital to me. It is an extremely flexible lens and it will be with me for many years to come."
PBS has called it “one of the most ambitious wilderness restoration projects ever attempted,” and was certainly no ordinary filming assignment for Bob. He is pulled from behind the lens, becoming a fundamental part of the action. He helped scientists to dart and track the elusive lions, decipher the intriguing behavior of the park’s elephants, wrestle and study massive crocodiles, and truck in herds of animals to replace the ones that were lost during the civil war.
Gorongosa Park: Rebirth of Paradise
airs Tuesdays at 8/7c on PBS from Sept. 22-Oct. 6 and is available on PBS Anywhere platforms at http://to.pbs.org/1KQekp3
. Keep up with Bob at http://www.bobpoolefilms.com/
Have questions or comments about Fujinon lenses? Connect with us on our Facebook page
, or tweet us
Posted: 10/6/2015 9:56:10 AM
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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-moun
t 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
Posted: 9/21/2015 5:04:20 PM
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Introduced at the NAB show in April, the first two lenses in its 4K Ultra HD Series for sports and entertainment applications are now available for delivery. The UA22x8
is the first portable zoom lens in the series, and the new UA80X9
is the first field lens.
Since their debut, these lenses have garnered attention for their 2/3-inch design, extended focal length and 4K optical performance. Everyone from long-form programming DPs to sports and news camera operators are excited about the range and resolution now offered in a 2/3-inch lens. 4K UltraHD productions can be produced with equipment that has the same “look and feel” capabilities of HD, but now with a premium picture quality.
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. Utilizing cutting-edge optical simulation technology, the UA22x8 achieves both its 22x zoom and advanced optical performance. Its floating focus system controls multiple lens groups according to the shooting distance and delivers high image quality and high contrast images from close-up to infinity. It comes standard with a 16-bit encoder capable of high-resolution output of lens data, such as zoom and focal position information. Zoom and focus position data is divided in 16-bit resolution and output as electric signals. This lens can also be linked with other systems like virtual studio systems when combining CG images with live action footage.
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. Designed using the latest proprietary optical simulation software, the UA80x9 offers exceptional optical performance in the center of the image through to 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. It can be linked with other systems, such as a virtual studio system for combining CG images with live action.
Fujifilm’s proprietary multi-layer coating processing “High Transmittance Electron Beam Coating” (HT-EBC) is applied to the lens for enhanced transmission and color reproduction. The lens also features the company’s unique “optical stabilization mechanism” as standard, which provides optimum adjustment to image shakes caused by vibration and wind. This makes the lens well suited for any application where the camera operator must maintain a rock-steady close up shot for long periods, such as sporting events, houses of worship, corporate presentations, or concerts.
We can’t wait to hear the feedback from customers after they’ve used them in the field. Drop us a line on our Facebook
page, or tweet us
to let us know what you think!
Posted: 7/23/2015 10:54:02 AM
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If you didn’t get a chance to see our versatile, new Premier Series HA18x5.5 HD zoom at the NAB show in Las Vegas, you’ll have another chance at the Cine Gear Expo from June 4-7 at The Studios at Paramount in Hollywood (Booth #43). We’ll also showcase our range of Cabrio PL cine/ENG-Style lenses and Premier PL 4K+ cine lenses.
Our Cabrio and Premier PL 4K+ lenses are very busy on a wide range of high-end theatrical releases, TV projects and commercial productions, so we couldn’t be more optimistic about the continued growth of the Cine-Style market. We were also thrilled with the overwhelmingly positive feedback we received on our HA 18x5.5 at the NAB Show. It lets operators shoot very wide from a long range, which is something our customers—particularly sports producers—have been requesting.
The HA18x5.5 offers 18x zoom from 5.5mm at the wide angle to 100mm on the telephoto end to capture images for a versatile range of scenes. With this lens, the operator can get as close to the subject as a minimum distance of 40cm. 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. The lens also has built-in digital servo drive units for zooming and focusing, and its ergonomic design reduces the weight for camera operators working handheld. It is also equipped with a 16-bit encoder, which outputs focus and other lens data at high resolution, and enables compatibility with various systems, such as a virtual studio programs and combining CG with live footage. It’s a very solid all-around, standard lens.
Also being featured at our booth is the newest addition to our popular Cabrio series, the Premier PL 25-300mm Cabrio. Equipped with a 35mm PL mount, the PL 25-300mm boasts a high zoom ratio covering the focal length of 25mm to 300mm and the lens supports an optional, detachable servo drive for electric zooming, focusing and iris. Mounting the unit enables remote control of zoom, focus, and iris adjustment. The entire family of Cabrio lenses will be on display, including the PL 19-90, PL 85-300, and PL 14-35mm.
To round out our display, the full range of Fujinon Premier PL 4K+ cine lenses will be on hand. This 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).
We are, of course, excited to show off our latest and greatest gear, but the Cine Gear Expo has become one of our favorite shows particularly because of the audience it draws. We look forward to the tremendously valuable feedback we receive from these key decision makers in entertainment production, some of whom are our most passionate customers!
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, #43.
Posted: 6/3/2015 5:13:06 PM
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