The New Canon CN-E15.5-47mm T2.8 L S/SP and CN-E30-105mm T2.8 L S/SP Cinema Lenses
Canon has announced two new zoom lenses in its Cinema Lenses family: The CN-E15.5-47 mm T2.8 L S/SP wide-angle cinema zoom lens (available in EF and PL mount versions) and The CN-E30-105 mm T2.8 L S/SP telephoto cinema zoom lens (also available in EF and PL mount versions). These lenses join the ranks of other Canon Cinema lenses that are engineered to serve the high-performance demands of the production community. Engineered to work with 4K-resolution (4096 x 2160 pixels) cameras, these lenses surpass the performance requirements of any HD imaging system. They also offer compatibility with industry-standard Super 35mm-equivalent image format as well as APS-C-size sensors. That, plus the versatility of having both lenses offered in EF and PL mount versions provides great flexibility for a production, because it allows a choice of several different motion picture cameras instead of just one camera; options are always better.
Both of these lenses offer a bright f/2.8 maximum aperture, allowing for use even in very low-lit scenes. And with no changes in brightness during zooming, these lenses enable attractive bokeh (the way the lens renders out-of-focus points of light) when employing shallow depth of field. Additionally, these lenses both offer a very low minimum operating distance of 1.64’ (0.5m) for the CN-E15.5-47mm T2.8 L S/SP and 2’ (0.6m) for the CN-E30-105mm T2.8 L S/SP, making it possible for you to shoot tighter close-ups and assist in shooting in limited-space environments. This makes theses lenses an attractive option for a production that will be shooting in various locations both in the field and on stage.
Additionally, these lenses feature fluorite and large aspherical lens elements to achieve sharp, consistent images throughout their zoom range. This is beneficial because it offers the peace of mind that comes to a user who knows that the image will stay consistent and sharp throughout, eliminating the need to, as they say in the business, “fix it in post.” These lenses also are equipped with control rings designed to maintain the proper amount of resistance with consistent operating torque, and a covered flange-back adjustment mechanism to meet numerous production application needs. The 11-blade aperture diaphragm on both lenses ensures smooth out-of-focus areas (attractive bokeh), while innovative glass construction counteracts barrel expansion and contraction to avoid temperature-induced marking discrepancies. This feature will be very beneficial to all those productions that shoot on stage under bright, hot production lights. These lenses also incorporate geared inner focusing to minimize focus-induced changes in the angle of view, reducing focus breathing virtually to zero.
Even though these lenses offer great flexibility for a production by coming in both EF and PL mount versions, there is an advantage to utilizing the EF mount versions with the Canon Cinema EOS camera systems. The EF-mount version lenses, when combined with Cinema EOS System cameras, support lens-camera communication, enabling the recording of zoom and other settings along with video data, making possible the effective management of shooting conditions.