Canon

Both the Canon FK14.5-60 wide-angle cine zoom lens and the FK30-300 telephoto cine zoom lens are engineered to meet the most demanding overall imaging requirements of the latest large-format single-sensor digital cinematography cameras, and the creative requirements of the most discerning cinematographers, producers, and directors. Both lenses are also more compact and lightweight than contemporary PL-mount lenses and both feature a totally new Canon optical design that virtually eliminates focus breathing. As digital cinematography continues to accelerate for theatrical motion pictures, TV movies, episodic dramas, commercials, and other forms of digital high-resolution production, professionals will require the very best in performance and image quality. By already performing in accordance with emerging 4K production image format standards, both of the new Canon PL-mount cine zoom lenses inherently ensure the very highest performance in contemporary 2K and HD digital motion imaging.

ABOUT THESE LENSES
The focal ranges offered by the wide-angle FK14.5-60 and the telephoto FK30-300 cine zoom lenses are designed to flexibly address most of the needs of contemporary HDTV episodic program production. The short depth of field, high sensitivity, superb contrast ratio, and excellent picture sharpness of both lenses are designed to provide producers of TV movies, episodic (drama) series, commercials, and music videos with the creative imaging flexibility needed to fulfill a myriad of potential story-telling objectives. Both lenses are equipped with precision back-focus adjustments to expedite lens-camera set-up, which is especially useful in multi-camera TV production environments. The mechanism is concealed beneath a cover plate. In addition, both lenses provide superb control over geometric distortion to prevent visible anomalies when shooting at extreme wide angles on large studio sets that contain extended straight edges.

Canon’s new FK14.5-60 wide-angle cine zoom lens and FK30-300 telephoto cine zoom lens are both engraved with large, highly visible focus scales for convenient film-style operation. Both also have a common 136 mm front diameter for use with industry-standard optical accessories. The location, diameter, and rotation angle of the lens gears are also identical, which further facilitates convenience in exchanging lenses on-set.

The wide-angle FK14.5-60 maintains its T2.6 maximum aperture over the entire focal range, and with the virtual absence of focus breathing offers new freedom in exploring novel picture creation. The lens preserves a high MTF (modulation transfer function) at wide-open apertures, exhibits well-controlled light distribution across the image plane, and greatly curtails ghosting and veiling glare artifacts from strong light sources. These attributes combine to help ensure superb contrast under a wide range of scene-lighting conditions, help maximize the image-creation capabilities of the current top-of-the-line single-sensor digital cinematography cameras. The telephoto FK30-300 complements the wide-angle FK14.5-60 in larger studios while also servicing many outdoor shots with exceptionally vivid imagery. Optical Features Highest Contrast: New glass materials and advances in multilayer optical coatings have produced a lens having an unparalleled contrast ratio High MTF: The contrast ratio is maintained at an impressive level far into the high spatial frequencies, and this combination of contrast and high resolution produce a vibrant visual picture sharpness Minimized Ghosts and Flare: The optical and optomechanical design of these lenses took extraordinary innovative design measures to counteract any undesirable optical artifacts stimulated by the effect of strong light sources in the scene Minimized Lateral Chromatic Aberration: Anticipating the extreme detail of 4K imaging sophisticated new optical design strategies were harnessed to minimize the wavelength dependence of optical magnification Color Matching: Computer simulation, employing the principles of the ISO Color Contribution Index (CCI) was employed to achieve a very tight color reproduction match between the two lenses 11-Blade Iris: An 11-blade iris is employed in both lenses to achieve a beautiful natural round bokeh on out-of-focus highlights Minimized Focus Breathing: Unique optical design has significantly minimized focus breathing facilitating a new level of creativity in focus pulls

Mechanical and Ergonomic Features
• Highest Contrast: New glass materials and advances in multilayer optical coatings have produced a lens having an unparalleled contrast ratio
• High MTF: The contrast ratio is maintained at an impressive level far into the high spatial frequencies, and this combination of contrast and high resolution produce a vibrant visual picture sharpness
• Minimized Ghosts and Flare: The optical and optomechanical design of these lenses took extraordinary innovative design measures to counteract any undesirable optical artifacts stimulated by the effect of strong light sources in the scene
• Minimized Lateral Chromatic Aberration: Anticipating the extreme detail of 4K imaging sophisticated new optical design strategies were harnessed to minimize the wavelength dependence of optical magnification
• Color Matching: Computer simulation, employing the principles of the ISO Color Contribution Index (CCI) was employed to achieve a very tight color reproduction match between the two lenses
• 11-Blade Iris: An 11-blade iris is employed in both lenses to achieve a beautiful natural round bokeh on out-of-focus highlights
• Minimized Focus Breathing: Unique optical design has significantly minimized focus breathing facilitating a new level of creativity in focus pulls
Mechanical and Ergonomic Features
• Small in Size and Light in Weight: The new optical platform is unique in achieving extraordinary optical performance within a more modest size and weight. This will further expedite efficient crew activity on set
• High Accuracy of Scales: Large, highly visible focus scales, allied with contemporary manufacturing techniques that ensure their high accuracy, make these lenses especially operational-friendly to the cinematographer
• Back Focus Adjustment: The lenses are equipped with precision back focus adjustments. Respecting the desire of some cinematographers to avoid inadvertent disturbance of this adjustment, the mechanism is concealed beneath a cover plate. For those accustomed to traditional back focus alignment (especially in multicamera television production) the mechanism is readily accessed with a simple flat screwdriver.
• Uniform Size and Location of Gears: Both lenses have a common 136mm front diameter thus allowing use of common optical accessories. The location, diameter, and rotation angle of the lens gears are identical which further facilitates convenient exchanging lenses on set

• Product Category : PL-Mount Cine Zoom Lens
• Product Series : FK30-300
• Aspect Ratio : 1.78:1 / 1.37:1
• Object Image size : At 1.78.1 - 24.0mm (H) x 13.5mm (V)
  At 1.37:1 - 21.95mm (H) x 16.0mm (V)
• Zoom Ratio : 10 X
• Focal Length Range : 30-300mm
• Angular Field of View : At 30mm (in 1.78:1 format)
  43.6o (H) x 25.4o (V)
  At 300mm (in 1.78:1 format)
  4.6o (H) x 2.6o (V)
  At 30mm (in 1.37:1 format)
  40.2o (H) x 29.9o (V)
  At 300mm (in 1.37:1 format)
  4.2o (H) x 3.1o (V)
• Maximum Photometric Aperture T Number : T2.95 at 30-240mm
  T3.7 at 300mm
• MOD From Camera Image Plane : 1.5m (from image sensor)
• Scene Object Dimensions at MOD : At 1.78:1
  98.0×55.1cm at 30mm
  9.7×5.4cm at 300mm
  At 1.37:1
  89.1×65.0cm at 30mm
  8.9×6.5cm at 300mm
• Width : 136mm
• Size Length mm mod1 : 342mm
• Weight1 : 5.8kg
• Focus Angle : 300