“The RF24-105mm f/2.8 L IS USM Z is crafted to meet the dynamic needs of today’s creators, seamlessly merging high-quality still photography with video capabilities in one lens body. Covering a versatile 24-105mm range, it promises sharp performance across varied perspectives, even under challenging light, thanks to its constant f2.8 aperture. The addition of the Power Zoom Adapter PZ-E2 accessory further elevates the video creation process, enhancing the RF24-105mm f/2.8 L IS USM Z’s zoom functionalities, making it a formidable tool especially for solo video creators.” Said Edwin Teoh, Head of Marketing, Singapore Operations, Canon Singapore.

Zoom Closer, Shoot Wider

The RF24-105mm f/2.8 L IS USM Z provides a constant maximum aperture of f/2.8 over its entire 24-105mm focal range, with stunning image quality to support high-resolution photography and 8K or 6K video throughout. Users can enjoy greater flexibility in both composition and exposure settings across a wide variety of subjects, especially when shooting in low light conditions or creating bokeh. 

As the first-ever RF lens to feature an iris ring usually found on cinema lenses, it enables silent, intuitive aperture control with smooth torque, ideal for adjusting exposure and bokeh effects during video recording. 

Beautiful circular bokeh can be achieved even with a narrower aperture setting via the lens’ 11 circular diaphragm blades—more than that on any other existing RF lens.

Steady, Consistent Focusing even During Zooming Sequences

Compared to existing RF professional standard zoom lenses, the RF24-105mm f/2.8 L IS USM Z offers better control over the focus fluctuations that tend to occur during zooming. This is due to optimised optical, mechanical, and electrical control including the adoption of two individually driven Nano USMs. Users can enjoy steadier, more consistent focusing when operating the zoom during video or high-speed burst shooting.

The lens also supports focus breathing correction during video shooting on a compatible camera. Users can expect seamless footage even when pulling focus from the closest focusing distance of 0.45m to a position located further away.

Powerful Image Stabilisation with Telephoto Lens-like Controls

The built-in Optical IS alone corrects camera shake by up to 5.5 stops’ equivalent; when combined with Coordinated Control IS on a camera body with In-Body IS, performance increases to up to 8 stops’ equivalent. Sharp, stable images can be captured even at a slower shutter speed, enabling both handheld still and video shooting in low light conditions. 

The RF24-105mm f/2.8 L IS USM Z is also the first standard zoom lens to feature the 3-mode IS mode switch usually found on telephoto lenses, so users can easily change IS modes to suit the situation.

Designed for Smooth Operation 

The RF24-105mm f/2.8 L IS USM Z features a fixed-length lens barrel design, ideal for video shoots that use a gimbal or rig as the centre of gravity remains consistent even during zooming.

In addition to the iris ring and IS mode switches, a new, customisable lens function button provides users with a programmable shortcut to their most-used functions, allowing faster response to changing shooting conditions.

The lens is bundled with a new tripod mount that can be easily attached and detached without special tools. A lens holder, LH-E1 (sold separately) that holds the lens on a rig system is also available.

The Durability of an L-lens

As a professional L-series lens, the RF24-105mm f/2.8 L IS USM Z inherits the reliable build of other lenses in the series, including dust and dirt-resistant fluorine coating on the front lens surface, as well as dust- and drip-resistant weather sealing to withstand unpredictable weather conditions.

Sophisticated Single-Operator Control

The Power Zoom Adapter PZ-E2 enables single-operator smooth, precise zoom control during videography. By simply pressing a button, even budding videographers can easily achieve seamless zooming unassisted. Fine control over the zoom speed is available through a dial, so users have greater flexibility to set a speed that suits their creative direction, be it high-speed zoom action, slow, gradual zooming, or in between. Zoom speed can be increased by using an external power supply through the USB Type C port, instead of drawing power from the camera.

A detachable thumb rest and ergonomically placed buttons allow for comfortable handheld operation. Designed to be compact, lightweight, and easy to transport, the Power Zoom Adapter PZ-E2 can be easily attached and removed without special tools even when the lens is combined with a rig, gimbal, or tripod. 

Pricing and Availability

The RF24-105mm f/2.8 L IS USM Z and Power Zoom Adapter PZ-E2 will be launched at the recommended retail price of $4,739 and $1,589. Availability will be advised at a later date.

Technical Specifications 

* Information and pictures courtesy of Canon Singapore and Gloo *

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7 models of Prime Series RF Cinema Lenses

The 7 models of Prime Series RF Cinema Lenses are of the focal lengths 14mm / 20mm / 24mm / 35mm / 50mm / 85mm / 135mm respectively. They are compatible with the Canon EOS C70 (released in November 2020) and EOS R5 C [1] (released in March 2022) RF Cinema Cameras.

These lenses are compatible with the transmission protocol of RF mount, and as with previous models [2], operators can control magnification, chromatic aberration correction, peripheral light correction and a dual pixel focus guide via camera body operations. In addition to these functions, the new lenses feature distortion aberration correction. These features support efficient video production not only during on-location recording but also post-shoot editing.

High Optical Performance

The new products achieve high optical performance suitable for use with 4K and 8K cameras by optimally positioning large-diameter aspherical lens elements and lens elements with anomalous dispersion glass. Their compatibility with the full-frame large-format sensor, bright T values [3], and the use of 11 aperture blades allow for a shallow depth of field for subjects, natural round blurring, and soft image expressions. In addition, since the color balance is unified throughout the series, adjusting color tones when changing lenses, while shooting the same scene can be done with greater ease.

With an appropriate sense of torque of the operation ring, the new lenses allow for precise and smooth adjustments that are required for cinema shooting. In addition, 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 mat box or external focus adjustment 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.

Availability

The availability of this new series of RF Cinema Lenses for the Cinema EOS System are as follows:

Notes:

[1] Performance guaranteed in VIDEO mode, when used with EOS R5 C

[2] EF-mount PRIME Series lenses

[3] The brightness of a cinema lens is generally expressed as a T value, which is obtained by additionally reflecting the transmittance of the glass to the F value.

* Information and pictures courtesy of Canon Singapore and Gloo *

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Canon DP-V2730 4K Professional Display

Canon recently launched the DP-V2730 4K Professional Display. This new 27-inch display features improved basic image quality over its predecessor models (1), including core components such as high-image quality display engine, revamped high-resolution algorithms, panels and backlighting systems.

The display features a compact and lightweight body that is ideal for 4K video checking and editing not only in conventional video production environments, but also for remote work in confined spaces including offices and personal residences. Like the highly popular DP-V1830 18-inch display (released in February 2022), the DP-V2730 satisfies HDR standards (2) and delivers high image quality, thus supporting a diverse range of working styles and workflows in the broadcast and video production industries. 

Utilising proprietary Canon technology, the DP-V2730 realises a maximum illuminance of 1,000 cd/m2 for white luminance, as well as improved black luminance and high contrast, making the display more suitable for checking dark or high-contrast areas. In addition, the display faithfully recreates the wide color gamut required by the ITU-R BT.2020 (3) recommendations. What’s more, thanks to Canon’s proprietary optical configuration that helps mitigate luminance and color variations, the angle of view for the display is wide enough to deliver accurate images when several people are viewing the monitor at the same time. 

Compared with the 24-inch DP-V2421, the new 27-inch DP-V2730 realises a 1.3x larger screen size for greater visibility, while also realising a slim design (4) with an approximately 41mm narrower width, enabling use in narrow workplaces such as broadcast relay vehicles and sub-control rooms. What’s more, the display’s smaller size, compared with 30-32-inch displays used for such work as color grading, makes it ideal for video production and a wider range of editing work styles in enviroments such as offices and personal residences where space is limited. 

The new display is equipped with the highly praised HDR Monitoring Assist function of its predecessor models. This function enables users to check input video and various types of signal information, all on a single display, to visualise important information and enable more efficient video checking and editing work. In addition, a multi-screen display (5) function via the SDI/HDMI video input and a Switchout (6) function help reduce the number of devices required and thereby realising a more space efficient video capture and production workplace. 

The DP-V2730 will be available from late February 2023. 

Notes:

(1) The DP-V3120 (released in November 2019), the DP-V2421 and DP-V1711 (released in April 2018) and the DP-V2411 (released in December 2017) 

(2) Testing performed under conditions specified by Canon, based on “EBU TECH3320 USER REQUIREMENTS FOR VIDEO MONITORS IN TELEVISION PRODUCTION Version4.1” and “Dolby Vision Certified Mastering Facilities Colorgrading Systems and Monitors V1.4”  

(3) Recommendations specified by UHDTV broadcast signal standards formulated by the International Telecommunication Union (ITU). 

(4) The DP-V2730 measures approximately 635mm wide. The DP-V2421 measures approximately 594mm wide. 

(5) Display of certain information may be limited based on video input, resolution, framerate and means of signal transmission. 

(6) A paid upgrade license is required to enable the Switchout function.  

Canon EU-V3 – Functional Expansion Unit

Canon recently announced the launch of the EU-V3, a functional expansion unit for the EOS C500 Mark II (released in December 2019) and the EOS C300 Mark III (released in June 2020) models of Canon digital cinema cameras.

 In recent years, there has been a growing need to accommodate a preference for shallow depth of field and smooth background blur in the recording of concerts and other live events. In response to this trend, Canon has announced the EU-V3, an external functional expansion unit for its EOS C500 Mark II and EOS C300 Mark III. Designed for video production at live events, the expansion unit increases the operational capability of these two cameras which has earned high praise for their large-format sensor that enables rich videographic expression. 

By attaching the EU-V3 to either the EOS C500 Mark II or EOS C300 Mark III, the cameras gain additional input/output terminals necessary for live video production. Specialized features for live broadcasting include a “tally” function that indicates which camera the live video is being captured with, and a “return” function that notifies operators which camera is currently broadcasting live. In addition, the unit supports the “focus position guide” function that enables operators to register a desired focus position and display the current focus position on-screen. This makes fast-focusing possible during live productions without missing a single moment. 

Use of the EU-V3 attachment with the EOS C500 Mark II or EOS C300 Mark III requires  installation of firmware, which Canon will provide free of charge in mid October 2022. By installing this firmware, the cameras will gain support for Canon’s proprietary IP1, XC Protocol, thus enabling control of cameras via a network. In addition, the firmware update will provide support for the CN8 x 15 IAS S/E1 and CN8 x 15 IAS S/P1 EF Cinema lenses, as well as 4ch audio parameter display and other functionality. 

The EU-V3 will be available in late 2022. 

* Information and pictures courtesy of Canon Singapore and Gloo *

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Canon 4K XA Series Professional Video Cameras

Canon’s XA Series professional-use camcorders, the compact and lightweight XA65 (1) /XA60, and the high-image-quality XA75 (1) /XA70, deliver the high image quality and high mobility required for on-location videography in fields such as broadcasting, reporting, documentary, and event shooting.

The newly announced XA75 and XA70 models inherit the same high performance of their predecessor models (2), while adding new support for UVC (USB Video Class) communication protocol that enables video transfer via USB connection. With this new feature, the cameras are better suited for use in the increasingly popular field of livestreaming, for video shooting and content creation. 

XA75 and XA70

The XA75 and XA70 are equipped with a 1-inch CMOS sensor and a DIGIC DV 6 image processor. Featuring a 4K-compatible 15x optical zoom lens with a zoom range from approximately 25.5mm at the wide end to approximately 382.5mm at the telephoto end (3), both support high-quality 4K/30p video capture across the entire zoom range.

The large sensor enables capture of video footage with exquisite background blur and bright, high-sensitivity recording with minimal noise in low-light environments. What’s more, thanks to Canon’s Dual Pixel CMOS AF technology, the XA75/XA70 achieves smooth, high-performance autofocus and subject tracking during shooting. Even during 4K shooting, when precision is crucial, intuitive touch panel operations enable quick and accurate focusing. 

XA65 and XA60

The XA65 and XA60 are equipped with a 1/2.3-inch CMOS sensor and a DIGIC DV 6 image processor, along with a 4K-compatible 20x optical zoom lens, all in a compact and lightweight body measuring approximately 109 mm (W) x 84 mm (H) x 182 mm (D) and weighing approximately 750g (4). The camera supports 4K/30p image capture across the entire zoom range—from approximately 29.3mm at the wide end to approximately 601mm at the telephoto end (3). What’s more, data from the 4K sensor can also be utilized for Over Sampling HD Processing to record high-resolution Full-HD/60p video. 

These new cameras are the first in Canon’s XA series to feature UVC compatibility, which allows high-image-quality streaming with just a single USB (Type-C) cable. In addition, the cameras are equipped with a large and bright electrostatic capacitance-type LCD touchscreen monitor, measuring 3.5 inches and 2.76 million dots, as well as a 0.36-inch, 1.77 million dots tilted Electronic View Finder (EVF) for improved visibility during outdoor shooting. What’s more, there is a digital zoom function for greater zoom range and a “text overlay” On-Screen Display (OSD) function that displays information such as date and timecodes overlaid on captured visuals, for greater flexibility in all kinds of shooting scenarios. 

Notes:

• (1) Only the XA75 and XA65 are equipped with an SDI terminal. 
• (2) The XA55 and XA50. 
• (3) 35mm film equivalent. Does not include Dynamic Mode when image stabilization in use.  
• (4) Does not include lens hood, clip belt, lens cap or handle.  

New Canon Cine-Servo Lens

Canon announced the launch of the CN8 x 15 IAS S/E1 (EF mount) and CN8 x 15 IAS S/P1 (PL mount), they are the latest additions to Canon’s CINE-SERVO series (1) of EF Cinema lenses.

The new Canon Cine-Servo lens feature high optical performance that supports use with 8K cameras equipped with large-format sensors, the new EF Cinema lenses realize a focal length of 15mm at the wide-angle end, 8x optical zoom and a built-in 1.5x extender.

The lenses inherit the characteristics that have made the Cine-Servo series popular among users, while meeting demand for a wider focal length. In addition to the rich visual expression only possible with large-format sensors, the lenses realize a compact and lightweight design for shoulder-mounted operation, and is also standard-equipped with a removable drive unit.

Thanks to its ability to cover a wide range of focal lengths while also supporting both cinema-level image quality and broadcast-style video production, these versatile new lenses can be used in scenarios such as TV and commercial filming, live studio production, sports broadcasting and more. 

The CN8 x 15 IAS S/E1 and CN8 x 15 IAS S/P1 can be mounted on cameras equipped with large-format (Super 35mm equivalent) sensors, providing a focal length range of 15-120mm through high optical zoom. In comparison to their predecessor models (2), the lenses realize improved performance in a more compact and lightweight design that enhances mobility and enables easier shoulder-mounted operation. 

By using the built-in 1.5x extender, the CN8 x 15 IAS S/E1 and CN8 x 15 IAS S/P1 can toggle to a focal length range of 22.5-180mm. Thanks to an expanded image circle, the lenses can be used with 35mm full-frame sensor cameras, such as Canon EOS C500 Mark II (released in December 2019) and EOS R5 C [3] (released in March 2022) digital cinema cameras. With such broad support for large-format sensor cameras, the lenses support video production for users who demand cinematic visuals with shallow depth-of-field. 

In addition to supporting 12-pin serial communication protocol standard used by broadcast camera systems, the lenses also support communication functions via the lens mount. The CN8 x 15 IAS S/E1 supports EF mount communication (4), while the CN8 x 15 IAS S/P1 supports the /i Technology protocol designed by Cooke Optics, as well as eXtended Data technology from ZEISS. With the capability to externally output a wealth of lens information to the camera via the lens mount during filming, the new lenses contribute to greater efficiency not only during recording, but also in VFX5 and post-production workflows. 

The CN8 x 15 IAS S/E1 and CN8 x 15 IAS S/P1 will be available from early 2023. 

Notes:

• (1)  CINE-SERVO lens refers to a drive-unit-equipped lens compatible with cameras incorporating a large-scale image sensor.  
• (2) The CN7 x 17 KAS S/E1 and CN7 x 17 KAS S/P1 (released in August 2014) 
• (3) Requires EF-EOS R mount adapter 
• (4) May not be compatible with certain camera types. 
• (5) Visual Effects. A type of visual production in which real-life imagery is combined with computer graphics and other digital technologies.  

* Information and pictures courtesy of Canon Singapore and Gloo *

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The new Flex Zoom lens series are designed for filmmakers in their pursuit of cinematic beauty, equipped with new large-aperture lenses featuring high-level optical design and performance while maintaining the style and ease-of-use of Canon’s EF Cinema lens series. With the introduction of zoom lenses with focal length ranges of 20-50mm for wide-angle and 45-135mm for telephoto, Canon now provides zoom lenses that cover the same range as its six existing prime (single focal length) lenses. The versatility of these new lenses supports efficient visual production workflows for a wide range of scenarios including film, TV programmes, commercials and much more.

When paired with full-frame or large-format cameras, these lenses fully leverage the cameras’ signature shallow depth-of-field to produce smooth and natural background blur, resulting in powerful visuals. What’s more, the lenses maintain a bright T2.4 aperture (1) across their entire zoom ranges, making possible image capture in natural light, even in darker environments. This contributes to less cumbersome lighting setups and video production workflows that are more efficient and cost-effective.

Featuring an optical configuration with optimal placement of lens elements including a large-aperture aspherical lens and an anomalous dispersion glass lens, the CN-E20-50mm T2.4 L F/FP and the CN-E45-135mm T2.4 L F/FP lenses mitigate colour smudging and chromatic aberrations. This enables them to maintain high optical performance from the centre of the image to the periphery when paired with 8K cameras.

In addition to supporting EF-mount data transmission (2), the new lenses are also compatible with /i Technology (3) from Cooke Optics. With this capability, recording metadata such as focus, zoom, aperture and lens model can be transmitted via the lens mount for visualization on the camera itself. This additional information helps contribute to more efficient workflows not only during on-location recording, but also during post-production and editing.

Pricing and Availability

Notes:

(1) The f-number of a lens refers to the level of brightness calculated based on focal length and lens aperture. The t-number, more commonly used to describe the brightness of cinema lenses, incorporates a lens’ f-number along with the measure of light transmission.

(2) Only compatible with EF mount cameras 

(3) Only compatible with PL mount cameras 

* Information and pictures courtesy of Canon Singapore and GLOO *

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 “With the new Canon EOS R5 C, users can expect a state-of-the-art video-centric hybrid camera, with versatile capabilities aimed at addressing the needs of the creative community.” said Edwin Teoh, Head of Marketing, Singapore Operations, Canon Singapore. “Created with the blended expertise of Canon’s photography and videography product lines, the Canon EOS R5 C is able to bring out cinema-level image quality. With the option to utilise the photography and videography function separately, it offers the best of both worlds, to fulfil the diverse needs of our consumers.” 

The Canon EOS R5 C can be used either as a video camera with Cinema EOS System quality, or a stills camera with high performance comparable to that of the Canon EOS R5 mirrorless camera (1) [released in July 2020], just by switching modes via the ON/OFF dial on the camera body. This new camera is a complete package with the inclusion of both next-level video and still image capabilities, making it ideal for a wide variety of usage in which mobility is crucial, including journalism and fields that require cinema-level image quality, such as advertising and corporate video production.

The EOS R5 C is equipped with Canon’s proprietary full-frame CMOS sensor that boasts 45 million effective pixels (2) and a DIGIC X image processor that produces an internal recording of 8K / 30P RAW video and 8K / 60P RAW video when using an external power supply (3). The camera is also ideal for a variety of video production scenarios thanks to support for 8K / 30P recording in the highly versatile MP4 file format. 

With full pixel readout from 8K effective pixels, which possess a rich amount of data, the EOS R5 C can also perform oversampling to generate high-image-quality 4K / 4:2:2 / 10bit video. What’s more, a proprietary heat transfer architecture and internal thermal transfer fan built into the EOS R5 C will enable video recording for longer durations than the EOS R5. 

The EOS R5 C employs the Cinema RAW Light recording format that preserves the data-richness of RAW video while reducing file size. Thanks to internal recording capabilities, video can be recorded on media such as CFexpress cards without the need for an external recording device. The camera also supports Canon’s proprietary XF-AVC format based on broadcast standards, making it versatile and compatible with a wide range of user workflows. What’s more, a high frame rate of up to 4K / 120P enables smooth video recording even when shooting slow-motion video. 

The new camera realizes both high image quality, thanks to a 45 million effective pixel count, and high-speed continuous shooting. Continuous stills shooting of up to approximately 20 frames-per-second (FPS) is possible when using the electronic shutter, and up to approximately 12 FPS when using the mechanical shutter/electronic curtain4, thus making possible high-quality image capture even for moving subjects. 

Pricing and Availability

The EOS R5 C is priced at $6,599 and will be available for pre-order from 25 February 2022 to 15 March 2022 on Canon eShop and at the following Canon authorised dealers – Alan Photo, Bally Photo, Cathay Photo and SLR Revolution.

Customers who purchase the Canon EOS R5 C during this period will be eligible to receive a 512GB CFExpress Type B memory card and a CFExpress Card Reader worth $1,200. The EOS R5 C is expected to be shipped from 31 March 2022. 

Notes:

(1) The EOS R5 C is not equipped with in-body image stabilization (IBIS), and therefore cannot work in conjunction with optical stabilization mechanisms on the lens side.  

(2) Actual pixel count: approximately 47.10 million pixels. 

(3) Shooting in 8K / 60P requires either: use of the DC coupler DR-E6C together with the Compact Power Adapter CA-946; or the USB power adapter PD-E1 (each sold separately, to be released on the same day as the EOS R5 C)  

(4) Continuous shooting speed may vary depending on such conditions as aperture settings or type of lens used. For more information, please refer to the Canon homepage.  

* Information and picture courtesy of Canon Singapore and GLOO *

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In the year 2011, the film and visual production industries have both film-analog and digital equipment that were being used side-by-side in the cinema production industry. The world of digitalisation was continuing its spread and digital cameras equipped with Super 35mm equivalent large-format sensors were becoming the mainstay of the industry. Amid this environment, Canon leveraged on tis visual technologies, including the optical technologies cultivated since its founding, and launched its Cinema EOS System, thus formally marking its entry into the cinema production industry.

Ever since, Canon has continued to expand the boundaries of visual expression and pursue the development of devices with ever-evolving technology. The company’s first Cinema EOS camera, the EOS C300, which is equipped with a CMOS sensor that realizes video reproduction comparable to 35mm film, was awarded a Technology and Engineering Emmy® award from The National Academy of Television Arts & Sciences (NATAS) in 2012. What’s more, the company has been honored for its cinema lenses, having received another Technology and Engineering Emmy® award in 2017 for its 4K cinema lenses that have earned high praise from the market for its excellent optical performance. 

Canon’s Cinema EOS System is widely used in the modern cinema production industry, including in film and television production. The EOS C300 Mark II (released in September 2015) digital cinema camera and eight cinema lenses were used in the filming of the 2018 Academy Award-winning documentary Free Solo. The System was also honored at the Sundance Film Festival in January 2020, where the winner of the World Cinema Documentary Special Jury Award for Cinematography, ACASĂ, MY HOME, was filmed with the EOS C300 and EOS C100 Mark II (released in December 2014). 

When developing such equipment as cameras and lenses for the cinema production market, it’s essential to have assistance from professionals in the field who use the equipment. From the release of its first digital cinema cameras (EOS C300 / EOS C300 PL) and lenses (CN-E14.5-60mm T 2.6 L S / CN-E14.5-60mm T 2.6 L SP) in January 2012, Canon has always sought out feedback about performance, ease-of-use and recording styles from experts on the front lines of cinema production. The company has always strived to develop products with designs and intuitive ergonomics that enable the shooting styles and visual expression demanded by professionals. 

Comment from Hiroto Okawara, Unit Executive, Image Solutions Business Unit 2 

I am truly honored to have reached this ten-year milestone. It’s thanks to the support from all of you in the cinema production industry, we’ve made it all the way here from our very first steps into Hollywood. In order to help creators produce work as close to their ideals as possible, we will continue to push forward in our efforts to further develop the Cinema EOS System. 

The cinema production industry evolves day by day, and Canon will also continue to implement new technologies in order to create products that serve the ever-diversifying needs of users. 

Comment from David Klein, member of the American Society of Cinematographers and Cinema EOS System user 

Canon still cameras and lenses have been in my hands since I was old enough to click a shutter. Canon’s cinema lenses have been in my hands for almost 10 years now and we have relied heavily on specific characteristics like their personality, sharpness, consistency and reliability. The EOS-1D C has been in the arsenal since 2013 along with every flavor of EOS C300 in some capacity, and they’ve all given us the images we want and need on a daily basis. So happy 10-year anniversary Cinema EOS System, we’re all looking forward to the next 10. 

The Cinema EOS System product lineup 

Launched in 2011, Canon’s Cinema EOS System leverages the company’s strengths— including the ability to develop and manufacture in-house such key devices as CMOS sensors, visual processing platform, and interchangeable lenses. Today, the System’s expansive lineup comprises 13 digital cinema cameras and 30 cinema lenses (1). In addition to digital cinema cameras and lenses, the System is compatible with the company’s EOS Series RF and EF lenses, thus helping to support a diverse range of visual expression for creators everywhere. 

Notes:

(1) As of November 4, 2021. Cinema lens count excludes the EF-EOS R 0.71X mount adapter.  

* Information and picture courtesy of Canon Singapore and GLOO *

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