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 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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At the recent media launch of S$5 million Futurealistic Studio by Oceanus Media Global, we had a feel, an immersive experience of what this modern technology and multi-media production house is capable of producing and delivering modern new age works and experiences for their clients in an ever-changing era of modern technology, social media and video consumption by both brands and consumers. 

Photos courtesy of Oceanus Media Global

With the usage of high-end virtual production technology, this enables Oceanus Media Global to offer next-generation storytelling experiences in a wide range of markets, from film and TV production to concerts and corporate events. 

Their expertise, experiences and ability to combine and integrate various different technologies XR, AR, MR and VR into a singular customised virtual experience to meet any brand’s bespoke vision. This is made possible with its extensive investments into cutting-edge equipment and developing the specialised knowledge and technical expertise needed to operate the studio. This Futurealistic Studio is the first of its kind in Southeast Asia and will put Singapore on the map for immersive brand experiences.

For brands and companies looking into doing live streams and broadcasts, wanting to do something different beyond that, they can be augmented with motion capture equipment to create immersive and interactive digital concerts in the Metaverse. As a matter of fact, Oceanus Media Global has helped to create ShiGGa Shay’s The ‘365’ Mixed Reality Experience, SEA’s first mixed reality concert. 

Oceanus Media Global currently works with businesses to create distinctive, digitally driven experiences that push the boundaries of our imaginations. Their portfolio is impressive, with iconic events such as The Front Row 2021: Asia’s first virtual fashion festival, Singapore National Day Parade 2021: First NDP to incorporate live AR effects, and Razor Con 2020: World’s first live-streamed event powered by Razer Chroma RGB lighting, were made possible with the company’s wide range of media tech capabilities. 

Nick Tan, Chief Executive Officer, Oceanus Media Global, said: “Our studio will serve as a platform for clients to get a taste of what futurealistic experiences could be like. When we brought together various agencies that are industry leaders in their own specialized fields, our vision was to create a team that delivers the next generation of immersive brand experiences. The launch of our Futurealistic Studio will raise the bar for immersive media productions in Singapore and we are excited to be at the forefront of our industry. We look forward to creating many more memorable experiences that will leave a lasting impression for audiences everywhere.” 

Oceanus Media Global will continue to grow its team at the immersive media studio and is looking to expand its current team of 50 by 50% within the next 2 years. They will continue to build expertise and hope to develop the next generation of media producers for Singapore. 

As a photographer myself, that is also into writing about modern technology stuff, this Futurealistic Studio by Oceanus Media Global represents a good hybrid mix and blending of media production with modern technology, ready for the new future of work, internet, social media and living. From producing new age immersive technology experiences for brands and businesses, to future potential collaborations with creatives from filmmakers, videographers, photographers, they are at the forefront of new future of media production, a blend of traditional, modern and future coming together. 

Immersing myself into the future at Futurealistic Studio (photo shot by Gin Lee of GLOO PR), this gives me new insights not just into the future of media production, on how the world could possibly and potentially adapt a hybrid future demand for both physical and virtual world experiences together. As a photographer myself, I am also thinking how am I able to cross into, blend and integrate other modern technologies to produce new digital artworks/content. A new futuristic internet, media production, social media and virtual world awaits the world.

Would my photography and content creation have an opportunity to collaborate/work with Futurealistic Studio in the near future? Let’s see where my photography and content creation journey takes me into the new future. 

* Information courtesy of Oceanus Media Global and GLOO *

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