All new Fujinon lenses are compatible with the currently proposed 16:9 format.

However, because of the various methods of achievin the 16:9 ratio, it is important to understand how the methods of ratio conversion are achieved. !here are two types of switchable"format cameras available today. #ne type uses 16:9"format $$%s and switches to the &:' aspect ratio. !he other utili(es &:' $$%s and switches to the 16:9 format. )hen the 16:9"format $$% system is employed, it is necessary to compensate for a loss in an le of view of about *+ percent that is incurred when switchin to the &:' aspect ratio. !o eliminate this problem, Fujinon offers an optional ratio converter that is located in a four"position e,tender turret in studio and field lenses, and in an enlar ed e,tender housin in new hand"held lenses. An additional option for lenses with an -* mm filter thread .A1-/0.61 is the li htwei ht front"mounted converter model 2$3"-*4$.

)hat do all of the numbers and letters in lens model numbers mean5 6ens model numbers seem cryptic at first lance, but it7s actually easy to brea8 the code. 9ven thou h every manufacturer uses different letters to identify functions, at least the format is close to the same. 6et7s analy(e Fujinon7s newest 9:;<9F= lens:

HA**,0.->92?"*HA@*<' inch format hi h definition **@Aoom ratio from wide to telephoto /@?ultiplier 0.-@?inimum .widest1 focal len th, in millimeters

>@6etter indicates flan e focal distance 9@Bnternal ran e e,tender 2@4ervo (oom ?@?anual focus *-@$amera interface type

!o et the ma,imum focal len th of the lens, multiply the (oom ratio .**1 by the minimum focal len th .0.-1 to et 10* mm. 9n a in the */ ran e e,tender will result in focal len ths of 1C.6 to '&& mm. 2emember that a hi h (oom ratio doesn7t always yield a lon er lens, e. ., *+ / 0 @ 1&+mm versus 19 / -.0 @ 16Cmm. Bt7s the resultin number .the ma,imum focal len th1 that counts. )hat focal len th video lens can B use to et a similar field of view as my 'Cmm still camera5 Bn order to calculate the appro,imate focal len th video lens as compared to 'Cmm still lenses use the followin factors. 1<' inch video lens .1'' 1<* inch video lens .10- *<' inch video lens . *C& *<' inch 16:9 .*C& 'Cmm still lens @ *-mm *<' inch video @ 0.11mm *- / .*C& @0.11

)hat is Aspheric !echnolo y5 All of Fujinon7s >roadcast and H%!3 9:;<9F= style lenses feature Fujinon7s latest technolo ical advancement, A!*, which combines the company7s e,clusive Aspheric !echnolo y with a new inner focusin system to increase the performance of each lens. A sin le aspheric element reduces distortion at wide an les, improves corner resolution, reduces lare and reflections, and allows chromatic aberration to be mana ed throu hout the (oom ran e, rather than simply optimi(ed at specific points. Aspheric elements ain their advanta es from the way li ht passes throu h them. 6i ht passin throu h the periphery of a spherical element falls on a different point on the focal plane than li ht passin throu h the center .spherical aberration1. !his reDuires additional elements to correct. 4ince li ht passin throu h aspheric elements focuses at the same point on the focal plane, additional elements are not needed. 6enses with aspheric elements eliminate the additional wei ht and space reDuired by the corrective roup of elements as well as their increased potential for distortion, hostin , and flare.

)hat is meant by the term E?a,imum 2elative ApertureE5 ?a,imum relative aperture refers to the EFE number of the lens at wide open iris. !his is usually e,pressed at two positions in the (oom ran e for (oom lenses. !he first number will refer to the lens from the widest (oom an le to the point at which the EFE number be ins to become lar er. !his occurs due to the physical constrictions of the particular lens desi n and is usually referred to as the E rampin pointE. ?ost (oom lenses ErampE , some more than others. !he second number referred to in the Ema,imum apertureE specification is the EFE number at the ma,imum (oom ran e or telephoto position. Bt is important to 8now what the EFE number of a particular lens is and how the rampin characteristics will affect video level.

)hat is the 3"format ratio converter and why do B need it5 All new Fujinon lenses are compatible with the currently proposed 16:9 format. However, because of the various methods of achievin the 16:9 ratio, it is important to understand how the methods of ratio conversion are achieved. !here are two types of switchable"format cameras available today. #ne type uses 16:9"format $$%s and switches to the &:' aspect ratio. !he other utili(es &:' $$%s and switches to the 16:9 format. )hen the 16:9"format $$% system is employed, it is necessary to compensate for a loss is an le of view of about *+ percent that is incurred when switchin to the &:' aspect ratio. !o eliminate this problem, Fujinon offers an optional ratio converter that is located in a four"position e,tender turret in studio and field lenses, and in an enlar ed e,tender housin in new hand"held lenses.