Canon Europe today announces the launch of two Super 35mm lenses for high-end 4K, 8K and HDR cinema productions, which enhances its Flex Zoom line-up. With the ongoing popularity of the Super 35mm sensor, the CN-E14-35mm T1.7 L S / SP and CN-E31.5-95mm T1.7 L S / SP are the fastest Super 35mm lenses on the market offering such broad focal lengths1. The CN-E14-35mm T1.7 L, a wide angle 14-35mm zoom lens and the CN-E31.5-95mm T1.7 L, a mid-focal range lens with a 31.5-95mm zoom range, offer incredible optical performance to support a wide range of uses and shooting scenarios.

Powerful cinematic imagery

Bolstering Canon’s Flex Zoom range, the CN-E14-35mm T1.7 L and CN-E31.5-95mm T1.7 L offer a fast constant aperture of T1.7 that creates an incredibly shallow depth of field to ensure subjects stand out, whilst also enhancing the compatibility with fast prime lenses when used together in the same production. Covering the most frequently used focal lengths in cinema production, these models offer high optical performance to create sharp, consistent images for 4K and 8K capture. Coupled with 11 Iris blades, this produces a beautiful bokeh effect and softly diffused light. Building on Canon’s heritage and colour science, the CN-E14-35mm T1.7 L and CN-E31.5-95mm T1.7 L achieve warm colours and true-to-life skin tone reproduction, with breath-taking image quality.

Versatile Flex design

Living up to the series name, the CN-E14-35mm T1.7 L and CN-E31.5-95mm T1.7 L are flexible lenses, suited to a wide range of scenarios. In addition to the interchangeable mount design that enables the lens to be switched between EF and PL mounts, these lenses are the first in Canon’s cinema range that make use of Canon’s interchangeable relay kit, enabling them to be switched from Super 35mm to Full Frame and back again, at any Canon authorised service centre2. Weighing just 3.3kg and 3.5kg respectively, the CN-E14-35mm T1.7 L and CN-E31.5-95mm T1.7 L have a compact, lightweight design that is perfect for versatile shooting or tight filming environments.

Enhanced communication for creative workflows

Both lenses support efficient lens metadata workflows including Cooke /i Technology™, and ZEISS eXtended Data™ via PL mount, alongside 4-pin Lemo connectivity. This is invaluable for virtual productions, where positional information is needed to ensure virtual backgrounds react as a natural background would to the perspective of the camera, as well as for post-production VFX workflows. Furthermore, electronic lens communication with chromatic aberration and peripheral illumination correction, as well as a Dual Pixel Focus Guide for manual focus assist via EF mount is available when used with compatible cameras.

Offering precise operation and enhanced usability, the CN-E14-35mm T1.7 L and CN-E31.5-95mm T1.7 L feature 0.8mm gears which are compatible with industry-standard follow focus accessories and external motors. With a precise mechanical design, users have greater control over lens optics, enabling smooth operation and creative control during filming. With a robust build, these lenses stand up against a range of different environments, making them great for on-location shooting.

Cinema EOS firmware update

Canon is also announcing a collection of new firmware updates to further enhance and expand the capabilities of the EOS R5 C, EOS C70, EOS C300 Mark III and EOS C500 Mark II cameras.

The update will bring a high resolution Clear Scan function, offering a more concise range from 50 to 250Hz, providing greater synchronisation support when shooting LED screens on virtual productions. In addition, an option to change the in-camera waveform monitor size, as well as further metadata support for the latest Canon lenses, has been added. 

Improvements to the EOS R5 C include support for the EF-EOS R 0.71x Mount Adapter, faster switching time between photo and video modes, a power saving mode, 2x magnification during 8K MP4 recording and a digital-teleconverter option, maximising flexibility by providing a quick way to increase the telephoto capability of the lens used.

CN-E14-35mm T1.7 L key features:

  • Constant T1.7 aperture across entire focal length
  • 14-35mm wide angle zoom range
  • Compatible with Canon relay change mount for easy conversion between Super 35mm and Full Frame
  • Cooke /i Technology™ and ZEISS eXtended Data™ lens communication
  • 11 Iris Blade aperture for beautiful bokeh effect
  • Interchangeable EF/PL mount options
  • 3.3kg in weight

CN-E31.5-95mm T1.7 L key features:

  • Constant T1.7 aperture across entire focal length
  • 31.5-95mm mid-focal length zoom range
  • Compatible with Canon relay change mount for easy conversion between Super 35mm and Full Frame
  • Cooke /i Technology™ and ZEISS eXtended Data™ lens communication
  • 11 Iris Blade aperture for beautiful bokeh effect
  • Interchangeable EF/PL mount options
  • 3.5kg in weight
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17 comments

  1. Cost = ????
    Has there been a precedent where a lens focal length has had a precision of 0.5mm?
    My recollection of patents is that Canon has been a bit flexible in the past with the exact focal length vs advertised focal length.
  2. Cost = ????
    Has there been a precedent where a lens focal length has had a precision of 0.5mm?
    My recollection of patents is that Canon has been a bit flexible in the past with the exact focal length vs advertised focal length.
    Fujinon 17.5-105mm TV Zoom
    Sigma 18.5mm f/1.8 DC
  3. Cost = ????
    Has there been a precedent where a lens focal length has had a precision of 0.5mm?
    My recollection of patents is that Canon has been a bit flexible in the past with the exact focal length vs advertised focal length.
  4. Cost = ????
    Has there been a precedent where a lens focal length has had a precision of 0.5mm?
    My recollection of patents is that Canon has been a bit flexible in the past with the exact focal length vs advertised focal length.
    Yes. In TV lenses, it’s very common to have “point” focal lengths. A few Canon examples: CJ15ex8.5B, KJ10ex4.5B, CJ15ex4.3B, CJ25ex7.6B. The first number is the zoom ratio and the second is the back-end(wide) focal length. So the Canon 10x4.5 is a 4.5mm-45mm zoom lens.

    *Edit*. And almost forgot about the old CN-E 14.5-60 and 15.5-47 cine zooms.
  5. Cost = ????
    Has there been a precedent where a lens focal length has had a precision of 0.5mm?
    My recollection of patents is that Canon has been a bit flexible in the past with the exact focal length vs advertised focal length.
    These are the same lens as the previously announced Flex Zoom 20-50mm T2.4 and 45-135mm T2.4, but with a new relay that allows then to be faster whilst losing coverage in full frame (hence why they're called "flex zooms", you can ask Canon support to swap the relay in order to make then faster at Super 35 or full frame at lost of a stop in speed). Hence why the weird focal lens length: 14-35mm T1.7 = 20-50mm T2.4 & 31.5-95mm T1.7 = 45-135mm T2.4.

    Also, it means the price is the same: USD22.000 per lens.

    No mention on the cost of the relays and/or the service to swap them.
  6. Are they anywhere close to releasing more big whites then just 2 rebadged RF 400 and 600? Where’s the 300 and 500??? This wait is getting pathetic
    What things are wrong with the current 300 and 500 lenses?
  7. What things are wrong with the current 300 and 500 lenses?
    The redesign in 2018 dramatically reduced weight in the 400 and 600.
    The autofocus is substantially faster in the 400 and 600.
    Weight has been shifted further back giving better balance and hand holding to the 400 and 600.
  8. The redesign in 2018 dramatically reduced weight in the 400 and 600.
    The autofocus is substantially faster in the 400 and 600.
    Weight has been shifted further back giving better balance and hand holding to the 400 and 600.
    Given the timing and features that Canon says are RF only, like in-lens profiles, I suspect the RF versions aren’t “EF with adapter”, but the EF versions are rather “RF without adapter”.

    The ‘delay’ between the releases was likely to extract maximum cash from the target audience :)
  9. Given the timing and features that Canon says are RF only, like in-lens profiles, I suspect the RF versions aren’t “EF with adapter”, but the EF versions are rather “RF without adapter”.
    Potaaayto, potahhhto. The MkII versions of the 300/400/500/600 came out over a decade ago. The 400 and 600 got MkIII versions, the 300 and 500 did not.

    Given that the EF III lenses launched after the EOS R, it’s possible some of the ‘new’ features of the RF versions were built into the EF versions in terms of hardware.
  10. Given the timing and features that Canon says are RF only, like in-lens profiles, I suspect the RF versions aren’t “EF with adapter”, but the EF versions are rather “RF without adapter”.

    The ‘delay’ between the releases was likely to extract maximum cash from the target audience :)
    Agreed that may be the case, although we are looking at the last revamp of the 500 was 2011. Hoping it comes soon enough.
  11. Given the timing and features that Canon says are RF only, like in-lens profiles, I suspect the RF versions aren’t “EF with adapter”, but the EF versions are rather “RF without adapter”.

    The ‘delay’ between the releases was likely to extract maximum cash from the target audience :)

    I would say that EF will remain dominant in the cine world. It's a long time standard and EF lenses are used on RED's, Sony's, Arri's, and Black Magic for many years without an issue. Introducing RF versions of these lenses only serves to severely limit Canon's potential market.

    I do think Canon has painted themsleves into a corner with RF. In many ways EF is still superior, and will remain so.
  12. I would say that EF will remain dominant in the cine world. It's a long time standard and EF lenses are used on RED's, Sony's, Arri's, and Black Magic for many years without an issue. Introducing RF versions of these lenses only serves to severely limit Canon's potential market.

    I do think Canon has painted themsleves into a corner with RF. In many ways EF is still superior, and will remain so.
    Yep. The problem with RF lenses, you can only use them on RF cameras, because of the shallow flange depth/back focus distance. Whereas EF is like PL, and is pretty deep, so you can easily adapt them to other cameras/mounts, because there is plenty of space for an adapter. And the cine and TV camera market is waaaay different than the still camera market. Luckily Canon, being in the TV lens market for decades and decades, knows this. Heck, even Arri makes EF mounts for their cameras. I have one for my Amira.
  13. Yep. The problem with RF lenses, you can only use them on RF cameras, because of the shallow flange depth/back focus distance. Whereas EF is like PL, and is pretty deep, so you can easily adapt them to other cameras/mounts, because there is plenty of space for an adapter. And the cine and TV camera market is waaaay different than the still camera market. Luckily Canon, being in the TV lens market for decades and decades, knows this. Heck, even Arri makes EF mounts for their cameras. I have one for my Amira.
    Basically, all New Canon cinema lenses are convertible between PL and EF.
    Those are the two mounts everyone supports.
    RF may catch on beyond RED and Canon but nothing close to what EF did.
    Panasonic and Sony have their own mirrorless mounts.

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