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Canon

Just Beautiful: Canon’s New RF mount Cinema Prime Lenses

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In all the excitement of IBC and the new iPhone launch you may have missed a seriously impressive announcement by Canon. Canon’s first cinema lenses equipped with RF Mount are coming your way early next year. Adding to its existing stock of EF mount CN-E Primes and PL mount Sumire Primes, Canon is offering seven new RF Primes.

Key features of the RF mount Cinema Prime lenses:

  • Genuine RF mount for stable operation without a converter
  • High speed lens communication offering advanced metadata support from the lens to camera
  • Geared rings offer greater control via hand operation and third party follow focus accessories
  • High optical performance and high image quality for 4K, 8K and HDR productions
  • T-stops up to T1.3 with broad focal lengths covering ultra-wide to telephoto
  • Minimal focus breathing
  • 11-blade iris for cinematic bokeh and softly diffused highlights
Watch Len Musmeci of Canon USA explain the RF Prime range.

The RF Prime series covers seven focal lengths, with lenses at 14, 20, 24, 35, 50, 85, and 135 millimetres, and share a common gear positioning and diameter across all seven lenses.

The native RF mount allows for high speed communication between the lens and camera body. They are compatible with the EOS C70 and EOS R5 C RF Cinema cameras. Fully compatible with the transmission protocol of the RF mount, and as with EF mount Prime series lenses, operators can control magnification, chromatic aberration correction, peripheral light correction, and a dual pixel focus guide via camera body operations. The new lenses also feature distortion aberration correction.

These fully manual lenses are suitable for use with 4K and 8K cameras – optimally positioning large-diameter aspherical lens elements and lens elements with anomalous dispersion glass. The use of 11 aperture blades gives a shallow depth of field for subjects, natural round blurring, and soft image expressions.

Due to the unified design across the series, including the gear position of the operation ring, the diameter of the lens and the rotation angle (operation angle), the lens can be exchanged smoothly without the need to adjust the mounting position of the matte box or external follow focus accessories for each model. A new knurled surface near the mount provides a comfortable fit in the user’s hand, allowing the lens to be held securely without gripping the operation ring when attaching and detaching different lenses.

The lens markings are phosphorescent. This ensures easy use when shooting a low light scene. The markings are available in metric or imperial.

Availability

Pricing for the lenses will be set at dealers’ discretion closer to availability in Australia:

ModelAvailable in Australia
CN-R14mm T3.1 L FMarch 2024
CN-R20mm T1.5 L FApril 2024
CN-R24mm T1.5 L FFebruary 2024
CN-R35mm T1.5 L FFebruary 2024
CN-R50mm T1.3 L FFebruary 2024
CN-R85mm T1.3 L FFebruary 2024
CN-R85mm T1.3 L FMay 2024
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Apple

WWDC 2024: Canon and Blackmagic Design to Help Push Apple Vision Pro Sales

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Content is king and that’s why Apple needs Canon and Blackmagic Design cameras to capture high quality spatial and immersive video to wow potential buyers of Vision Pro headsets. We’ve been able to shoot Vision Pro spatial video for some time on the iPhone but soon professionals and expert amateurs will be able to capture better quality images, specifically for Apple’s premium device.

At WWDC Apple announced that Vision Pro will soon be selling in Australia, China, Hong Kong, Japan, Singapore, Canada, France, Germany, and the U.K. More markets means more content.

At a RRP of A$5,999, the Vision Pro needs to blow you away. Fortunately there will be more ways to gather stunning content thanks to Canon and Blackmagic Design. One for the enthusiasts and the other for pros only.

CANON RF-S7.8mm F4 STM DUAL lens for EOS R7

The lens shown by Apple in its keynote is the Canon RF-S7.8mm F4 STM DUAL lens for its popular APS-C R7 camera. It’s under development specifically for Apple Vision Pro spatial content. The new DUAL lens will be available between September and December this year.

The RF-S7.8mm F4 STM DUAL lens features a field angle that is similar to a person’s field of view and it’s equipped with a high-speed autofocus mechanism.

If you can’t wait for the Apple specific lens then try the one below.

CANON RF-S 3.9mm F3.5 STM DUAL FISHEYE

The lens above is the (soon-to-be-released) RF-S 3.9mm F3.5 STM DUAL FISHEYE. It’s an APS-C (VR) lens and joins the RF 5.2mm F2.8L DUAL FISHEYE in the EOS mirrorless lineup.  

The lens will only be compatible with the EOS R7 camera at launch. The recording angle is 144-degrees but it results in a natural, forward-facing view of the world. It’s also the first 3D lens with Autofocus (AF) from Canon, with a One Shot Autofocus (AF). This helps a lot. You’ll also find a rear mounted filter holder for both screw-on and gelatin filters.  

The RF-S 3.9mm F3.5 STM DUAL FISHEYE is priced at A$1,999 RRP and should be available late June.

I’ve shot immersive 180 degree videos with Canon’s super-fast dual fisheye lens and although impressive, I really didn’t have anywhere to show them off. Although I tried my best in the Sky News segment below.

The Canon RF 5.2mm f/2.8L Dual Fisheye lens was the world’s first lens for digital interchangeable lens cameras enabling 180° VR shooting to a single sensor. Using a Canon R5 you could record 8K 30p. Resolution is extremely important when it comes to video on VR/AR headsets. The higher the better.

Apple Vision Pro’s ultra-high-resolution display system uses micro-OLED technology to squeeze 23 million pixels into two displays. Each one is the size of a postage stamp, delivering more pixels than a 4K TV to each eye.

That’s where Blackmagic Design’s URSA Cine Immersive camera system is set to reach new standards in immersive video quality on the Apple Vision Pro.

BLACKMAGIC URSA CINE IMMERSIVE

“We are thrilled to announce the first-ever commercial camera system and post-production software that supports Apple Immersive Video, giving professional filmmakers the tools to create remarkable stories with this powerful new format pioneered by Apple,” said Grant Petty, Blackmagic Design CEO.

“Built on the new URSA Cine platform, URSA Cine Immersive features a fixed, custom, stereoscopic 3D lens system with dual 8K image sensors that can capture 16 stops of dynamic range.”

Blackmagic URSA Cine Immersive uses a fixed, custom lens system pre-installed on the body, which is designed specifically for Apple Immersive Video. The sensor delivers a jaw-dropping 8160 x 7200 resolution per eye with pixel level synchronisation.

The custom lens system is designed specifically for URSA Cine’s large format image sensor with extremely accurate positional data that’s read and stored at time of manufacturing. This immersive lens data — which is mapped, calibrated and stored per eye — then travels through post production in the Blackmagic RAW file itself.

Cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file.

The camera comes with 8TB of high performance network storage built in. It records directly to the included Blackmagic Media Module, and can be synced to Blackmagic Cloud and DaVinci Resolve media bins in real time. This gives over 2 hours of Blackmagic RAW in 8K stereoscopic 3D immersive.

DaVinci Resolve with Apple Immersive video support for Apple Vision Pro will be released later this year. Blackmagic customers will be able to edit Apple Immersive Video shot on the URSA Cine Immersive camera. A new immersive video viewer will let editors pan, tilt and roll clips for viewing on 2D monitors or on Apple Vision Pro for an even more immersive editing experience.

Transitions rendered by Apple Vision Pro will also be able to be bypassed using FCP XML metadata, giving editors clean master files. Export presets will enable quick output into a package which can be viewed directly on Apple Vision Pro.

Blackmagic URSA Cine Immersive Features

  • Dual custom lens system for shooting Apple Immersive Video for Apple Vision Pro.
  • 8K stereoscopic 3D immersive image capture.
  • 8160 x 7200 resolution per eye with pixel level synchronisation.
  • Massive 16 stops of dynamic range.
  • Lightweight, robust camera body with industry standard connections.
  • Generation 5 Colour Science with new film curve.
  • Dual 90 fps capture to a single Blackmagic RAW file.
  • Includes high performance Blackmagic Media Module 8TB for recording.
  • High speed Wi-Fi, 10G Ethernet or mobile data for network connections.
  • Optional Blackmagic URSA Cine EVF.
  • Includes DaVinci Resolve Studio for post production.

DaVinci Resolve Immersive Features

  • Support for monitoring on Apple Vision Pro from the DaVinci Resolve timeline.
  • Ability to edit Blackmagic RAW Immersive video shot on Blackmagic URSA Cine Immersive.
  • Immersive video viewer for pan, tilt and roll.
  • Automatic recognition of Apple Immersive Video (left and right eye) for dual file stereo immersive content.
  • Option to bypass transitions rendered by Apple Vision Pro.
  • Export and deliver native files for viewing on Apple Vision Pro.

Availability and Price

Blackmagic URSA Cine Immersive and the update to DaVinci Resolve will be available later this year.

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Broadcast

Triple Base ISO and More: Canon Throws the C400 into the Cinema Mix

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Canon has just announced the C400. It’s a full-frame 6K cinema camera with RF mount and triple native ISO. The new CMOS sensor is backside-illuminated and it can record up to 6K/60p Cinema RAW Light. And there’s a lot more to brag about but is it enough?

It’s certainly a camera that will keep many shooters in Canon’s wheelhouse and might even tempt Sony users to jump ship. It certainly resembles the much older FX6, and although the Sony model is much cheaper, it’s missing a lot of specs and horsepower the C400 boasts.

EOS C400: A$13,500.00 RRP (A$12,999.00 general price)

SONY FX6: A$8,199.00 (general price)

The C400 works a cinema camera or ENG/live broadcast shooter. Despite its size, it packs a lot of options for TV and/or filmmaking into that tiny body.

THE GAME CHANGER – TRIPLE NATIVE ISO

Shooting documentaries in various lighting conditions can be challenging even with dual native ISO. Sometimes 12800 is too much and that’s where the C400 has you covered with triple ISO levels of 800, 3,200 and 12,800. This is available when shooting in Canon Log. To avoid ‘chasing’ low light settings, Canon also has an automatic switching mode that detects ambient lighting and adjusts the base ISO level to match.

THE SENSOR

At the heart of the EOS C400 is a new 26.7MP 6K full frame backside-illuminated, stacked CMOS sensor (BSI), connected to a DIGIC DV7 processor. Rolling shutter isn’t a real concern with faster readout from the sensor. You’ll also get a sharp image from the 6K oversampling for 4K and plenty of post production flexibility with 16 stops of dynamic range.

Super 35mm and Super 16mm are also options – cropped.

AUTOFOCUS

Canon is bringing its Dual Pixel CMOS AF II to its cinema EOS system with virtually 100% coverage across the sensor. C400 users will be able to select face | eye | body and animal detection and tracking. This is a bonus for solo shooters.

ND FILTER

The C400 has a mechanical ND filter with (2 / 4 / 6 / 8* / 10 stops*) * with extender.

RF MOUNT

The EOS C400 is the first high-end RF mount cinema EOS camera, although the R5C and C70 were also options. The RF lens options include integration with RF prime, zoom, hybrid, cinema and VR lenses. For more flexibility you can use EF-EOS R mount adapters as well as the new PL-RF mount adaptor. A 12-pin lens terminal gives greater control over lens operations.

RECORDING FORMATS

It’s all about RAW, in particular, Cinema RAW Light. Canon’s scalable 12-bit Cinema RAW Light is available in LT/ ST/ HQ. If you don’t need to use RAW then 4:2:2 10-bit XF-AVC and all-new MP4 based XF-AVC S and XF-HEVC S formats are also options.

The best of the best for PAL regions is: 6K 12bit Cinema RAW light 1780Mbps (50.00P ST).

You can download a full list of codecs and frame rates here.

DESIGN AND CONNECTIONS

The box design makes the C400 pretty flexible. It’s easy to build out for a film set tripod rig or strip it down for use on a gimbal. The camera weighs 1550g, 12% lighter than the EOS C500 Mark II.

The side handle grip is connected via USB-C with mappable buttons. The top handle connects to the multifunction shoe and duplicates it at the top. This is where you’ll find the monitor which you can mount directly to the body if you don’t want the handle attached. The display is a 3.5-inch LCD 2.76 million dots, touch panel.

There’s plenty of I/O in the C400, including built in Wi-Fi, G-LOCK/SYNC/RET terminal, ethernet terminal, SDI output, MON output and multiple input terminals. The G-LOCK/SYNC/RET and Ethernet terminals are located on the camera body. Just like the C70 the C400 has two mini XLR audio inputs.

Pricing and availability

The EOS C400 will be available in Australia this September for a RRP of A$13,500 RRP. But as stated above, you’ll find it available for pre-order at A$12,999.00 or less.

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Cameras

Canon Flagship is Coming – the EOS R1

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The first time I used the Canon R3, I said to myself, “OK… this is awesome but when’s the R1 coming out?” And now we know, well sort of. Canon today announced that it is currently developing the EOS R1 “and is aiming for a 2024 release.”

This means the Olympics could see the debut of the R1, Canon’s long awaited king of professional cameras. So what do we make of the following line from Canon?

“Canon is working on field tests for this camera, and will support capturing definitive and impactful moments at international sporting events to be held in the future.”

WHAT IS THE EOS R1?

Canon released a couple of teaser videos about the eos r1

The R1 is a full-frame mirrorless camera for pro shooters that combines performance with durability, something Canon is renowned for in its professional lineup.

Canon’s statement says, “this camera will dramatically improve the performance of both still images and video and meet the high requirements of professionals on the frontlines of a wide range of fields including sports, news reporting, and video production.”

The company confirmed the R1 will have the newly developed image processor DIGIC Accelerator in addition to the pre-existing processor DIGIC X. This system will give the R1 the speed to handle massive amounts of data expected in a flagship.

Flashback: Canon’s 1Dx Mark III was made for the Olympics

Canon says subject tracking accuracy has been improved so the target subject can continually be tracked even if another player passes directly in front of them on the sporting field. Also, the AF “Action Priority” function recognises subject movement by analysing the subject’s status.

The R1 will automatically determine what the player is doing, like shooting a ball, as the main subject and instantly shifts the AF frame. Skilled sports photographers have been doing this for decades. So I’m eager to see how good this system is the real world.

With a growing list of RF lenses, the EOS R1 will have plenty of glass for photographers to choose from when it finally arrives. So the pressure is on, will Canon deliver? We’ll soon find out.

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