Asia-Pacific Broadcasting (APB) October 2016 • Volume 33, Issue 9 - Page 21

21 CREATION October 2016 can zoom in requirements accuracy in focus control demanded by 4K/ UHD resolution. “Fujinon has also developed new manufacturing technologies for configuring and positioning of lens elements,” Becker explains. “All these new technologies and features now make video production better, sharper and more efficient than ever before.” And what makes Fujinon lenses more competitive? Its wide array of zoom lens options, he replies. Fujinon offers a particularly large range of zoom lenses, which includes a large range of PL mount for large sensor cameras and B-mount lenses for conventional 2/3-inch sensor cameras. “Uniquely, the new Fujinon 4K/UHD UA107x8.4BESM has the largest zoom range available of any 4K/UHD lens in today’s market,” Becker reveals. “Also, all of Fujinon’s 4K/ UHD Plus lenses exceed 4K/UHD resolution. In the PL mount lenses category, the Cabrio series has been so successful with its large range of zoom lenses that increasingly many camera operators, videographers, DoPs and cinematographers are now using Fujinon Cabrio zoom lenses where previously they would have used prime lenses.” Aside from producing its own lenses, Fujinon works closely with all the camera manufacturers including, for example, ARRI, for which Fujinon manufactures the Alura Zoom range of lenses. In terms of popularity, Fujinon’s Cabrio range has proved “very popular” with filmmakers, cinematographers, DoPs and videographers across Asia-Pacific “mainly due to their quality and the speed with which they help with quality of output and workflow efficiency”, Becker adds. “The Cabrio zoom lenses feature an exclusive detachable servo drive unit, making them ideal for documentary work and productions involving a lot of handheld shooting,” he says. The lenses also feature flange focal distance adjustment and macro function, and are LDS (Lens Data System) and /i metadata-compatible. “Plus, the quality of Cabrio lenses is so good that it is very difficult to distinguish the difference between a shot taken on a high-end prime at T2.8 and a Cabrio at T2.9,” says Becker. With this level of quality and no requirement to change lenses, recalibrate remote focus or re-balance the head, Cabrio lenses save TV and filmmakers both time and money, he adds. Other positives for filmmakers or videographers are that Cabrio lenses are lightweight, sharp and the macro function saves the need for diopters. And while both ARRI and Fujinon are well focused on what content producers require of their lenses at the moment, they have set their sights on new features they Fujinon says its 4K/UHD UA107x8.4BESM has the largest zoom range available of any 4K/UHD lens in today’s market. may want to include in their future lenses. Fujinon’s Becker says the next step is 8K. “Fujinon continues to invest heavily in R&D. Future development will lead to a further increase in the range of lenses and the development of 8K lenses,” he reveals. On the other hand, ARRI’s Dooley says one future feature is new lens control. “This is an area where we are seeing developments in the lens market — electronic lens control. Far more productions are calling for wireless follow focuses in their camera kit, and ARRI is leading the charge with the WCU-4 handset, integrated in-camera lens control and series of CLM and Active Lens Motors.” He adds that the Master Grips introduced at the recent IBC 2016 trade show now allows focus, iris and zoom control to come to the fingertips of the camera operator, built to ARRI’s quality standards. The Master Grips can be used as a stand-alone motor controller for lens motors or in parallel with an assistant’s wireless package, and can even be used to control the internal lens motors of EF and ENG lenses. Mounted on tripod pan bars or studio pedestal heads, the Master Grips can be used as focus and zoom demands in multicamera set-ups, such as when using ARRI’s Amira camera in Multicam mode, and will offer user button and REC start/stop functionality on ARRI and third-party cameras. “We are expecting the Master Grips to be a widely popular and universal addition to the ARRI Electronic Control System range,” he concludes. Streamline your broadcast workflow Angénieux presents the new Optimo 44-440 A2S At last month’s IBC 2016, Angénieux presented the new Optimo 44440 A2S, the third lens in the Optimo Anamorphic 2x Squeeze series. The Optimo 44-440 A2S zoom lens features traditional 2x horizontal squeeze, minimum breathing and distortion, and a fast aperture of T:4.5 across the zoom range. It is equipped with close focus of 4ft 1in (1.24m) and is one of the lightest lenses in its class at 16.6lbs (7.5kg), said Angénieux. The lens creates an image that combines a controlled background with an aesthetically dimensional foreground. The Optimo 44-440 A2S brings what many refer to as a “creamy and organic look” that Angénieux zooms are known for, added the company. The first production units of the Angénieux Optimo 44-440 AS2 have been delivered and are already available at some of the most prestigious rental houses in the world, including: n ARRI Rental New York (USA); n Otto Nemenz Los Angeles (USA);
 n Keslow Los Angeles (USA); n Camtec Los Angeles (USA); 
 Joining the Optimo 56-152 A2S released in 2014 and the Optimo 30-72 A2S released last year, the Optimo 44-440 A2S is the third lens in the Optimo anamorphic 2x Squeeze series.
 n TCSFilms New-York (USA); 
 Beijing (China); 
 n Ludwig Münich (Germany); 
 n Ljud & Bildmedia Stockholm (Sweden); and n Storyline Oslo (Norway). Joining the Optimo 56-152 A2S released in 2014 and the Optimo 30-72 A2S released last year, the Optimo 44-440 A2S is the third lens in ѡ=ѥ(MՕ锁͕ɥ̻ хѼ͕)ɥ́ȁѡ͡Ё=ѥL齽̰)ѡ܁齽)́ɥ́᥉䁽ѡ)Ʌ齽Ѽѡ͕а)Ց)$M() ѕ䁽 PM()ɅѕɄ-Y4ݥэ́ЁɅѽ)Ѽ٥хɽՍѥեаݥѡ)ɽ͔)]ѠɅ͵ͥ䁽ȁɔ)Ʌѥѡ䁅ɔѡͽѥ)ѽéɽЁЁѥ̰ɕͥ)䁅ɕѡɽՍѥ)ݽɭܸ()%!M !Յѕ)%!M ͥAAє1ѐ%!MUM11 )5剅Ʌ͔(ā Ʌєɥٔ(-]䃾 ܴ(Ё=ѕɥ ɵMɔ) Ʌ䰁9(ȃ UM)ܹ͔ ͔((0