When AbelCine, the well-respected New York-based equipment reseller and rental company, saw the PL 19-90 Cabrio ZK4.7x19 lens for the first time at NAB, they realized it would be an excellent addition to their sales and rental inventory of Fujinon lenses.

A part of the PREMIER PL Mount Zoom family, the lightweight and compact lens features a first for cine-style lenses: an exclusive detachable servo drive unit that makes it suitable for use as a standard Cine PL lens or as an ENG-Style lens.

AbelCine has received dozens of the PL19-90 lens, which they have sold or rented to a range of clients, including rental houses, production companies and directors of photography.

According to Pete Abel, President and CEO of AbelCine, customers of the PL 19-90 lens include DP Jonathan Furmanski, whose resume includes a long list of documentaries, television series, feature films, commercials, and music videos; production company Zero Point Zero, whose current projects include Anthony Bourdain: Parts Unknown, set to air next spring on CNN, and Meat Men on Food Network; and full service rental house Chater Camera, located in Northern California.

Have questions about the PL 19-90 or any of our other professional lenses? Leave a comment here, on our Facebook page, or tweet us.

Technological innovation in broadcasting is alive and well. New services for broadcast now go beyond HDTV, multicasting and mobile DTV and incorporate interactive experiences. One such experience that is already coming into living rooms is 3D.

Like any technology, the success of 3D relies on viewer acceptance. And nothing will speed acceptance more than quality programming. This means it is essential to understand the mechanics behind 3D shooting.

Lenses, of course, perform the vital act of image capture, which is the stepping stone for everything that follows. When it comes to 3D, lens controllers, as well as the lens design construction and the manufacturing processes used take center stage.

Controllers ensure that the various lenses track perfectly, both electronically and optically. They also help the cameras move in and out more easily and in perfect synchronization, which is critical in 3D shooting. Another critical element is setting depth of field properly, especially in close ups, over the shoulder shots and other narrative scenes. It is the difference between having a 3D program look cartoonish or having it appear as though it is actually taking place in the viewers’ living rooms.

Lens construction and the manufacturing processes are essential as well. That’s because 3D shoots involve two cameras, so each lens must be of the same focal length, with zoom and focus positions moving in perfect synchronization. If this doesn’t happen, the picture will not come together properly. Aligning the optical axis exactly can take work, primarily because the beam splitters and image sensors may not align accurately.

Lenses from Fujifilm Optical Devices are constructed in a way that ensures the synchronization process happens smoothly and successfully. That’s why some of the most distinguished 3D houses have converted to Fujinon lenses.

Generally, lenses of the same specification are closely matched. But when they are measured with a collimator—a device for aligning lenses—they often differ slightly, which means shooters can end up wasting time searching for two accurately aligned lenses.

Fujinon lenses are optically and electronically matched, with precision zoom and focus servos that allow the control system to synchronize the left and right camera lenses for 3D, and offer pinpoint operational accuracy. This can simplify the process, and reduce set-up and shooting times significantly.

For more information on Fujifilm Optical Devices, go to www.Fujinon.com, or follow us at www.Facebook.com/FujifilmOptical and www.Twitter.com/FujifilmOptical.

When David Linstrom agreed to be Director of Photography for the National Geographic special, Oceanus, with oceanographer Bob Ballard of The Titanic discovery fame, he knew he would be shooting in a tricky environment. As he packed up his camera supplies, he made sure not to forget his favorite lens—the Fujinon HA13X4.5. We were recently lucky enough to ask Mr. Linstrom a few questions. Read on to learn more about his early days, how he combats challenging shooting conditions, the future of cinematography and more.

Q: You shot the upcoming Oceanus special for National Geographic with Bob Ballard, otherwise known as the oceanographer that discovered the Titanic, among other famous ships. What were you most looking forward to about the experience?

A: Working with someone as renowned as Bob Ballard was a great experience. His wealth of knowledge about our oceans is amazing, his list of accomplishments is legendary and he's a very nice guy. He's interested in other people and what they do day to day and he's not afraid to go out on a limb. I shot him putting on a harness and stepping out of a helicopter to be lowered 100 feet onto a moving cargo ship.

Q: Is there one instance you can pinpoint that turned you on to cinematography?

A: I started as a still photographer. I was always fascinated with photos of people and places from around the world. I grew up fascinated with Life magazine and National Geographic. Then I took a cinematography class in college and quickly forgot about shooting stills. Don't get me wrong, I have nothing against the still image. It's just that the moving image appealed to me so much more. I have a deep love for non-fiction and the wealth of stories from around the globe. There's something about moving images, sound, editing and narration that when combined, make for an amazing experience.

Q: What do you view as emerging trends in cinematography today?

A: The most obvious trend is digital. Film cameras, which didn't change much for over one hundred years, are quickly becoming obsolete. Arri is no longer making them, neither is Panavision. Professionals are using consumer digital cameras to make fascinating images. It just keeps getting better. The cameras get smaller, sometimes to a fault. As an operator, I like a heavier camera. I like the mass, the ergonomics of it. Up to a point. I certainly don't long for the days of a 40-pound camera on my shoulder or of all the cases I use to schlep around the world.

Q: What are the most significant changes in filming from when you started until now?

A: I started shooting on 16mm film. That went away a few years ago and I don't see it coming back.

Stay tuned in to our blog for part two!

In this first installation of our multi-part series on Lens Care Maintenance, we’ll discuss the appropriate materials and methods to properly clean your lens.

Whether you’re a weekend shooter or a seasoned photographer, you no doubt have experienced this common scenario: you shoot your best work only to find that the pictures are useless because there was dirt on the lens.

When you see the same spot on a set of pictures you take, you must clean the camera lens as soon as possible. In some cases, small spots can be eliminated, but more often than not you will have to shoot the pictures again or take a loss on once-in-a-lifetime photo opportunities gone forever. Here are a few key elements to ensure your lens is cleaned properly.

Step one: Use an air gun and lens brush to wipe off any loose dust. If you’re on location and don’t have either of those, you can gently blow on the lens, but this should be your last resort!

Step two: Choose the right cloth, and give it a good shake to loosen any lingering fibers before wiping the lens. At Fujifilm, we suggest using a micro-fiber cloth for a number of reasons:
     1. They will not scratch or smear the surface
     2. They are chemical free
     3. They are anti-static
     4. They lift dust and oil from the lens

If you don’t have a micro-fiber cloth, choose a cloth made from soft, silky material—preferably one made for optical lens cleaning. Never use a hard material, like your t-shirt, or you can transfer debris and even scratch the lens. Always wipe the lens in a gentle, circular motion, beginning in the center and working your way outward, and use a lifting motion rather than rubbing the cloth against the lens to avoid causing any damage.

Step three: Use the right cleaning agent. For normal smears and smudges, it is not necessary to use a lens cleaning fluid—just a cloth will do. If you do need to use liquid, place one or two drops of a lens cleaning liquid or isopropyl alcohol on a cleaning cloth. Never, ever apply liquid directly on the lens. If you use too much cleaning fluid or place drops directly on the lens, the fluid may seep into the lens, which can result in internal fog or something worse, causing permanent damage.

It may seem simple, but the type of cleaning materials you choose and how you use them greatly contribute to the lifetime of your lens. For more information on Fujifilm Optical Devices, go to FujifilmUSA.com.