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4K UHD Field Box Lenses

Item Code: 0134T335

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The UHD-DIGISUPER 66 is our first 4K compatible medium telephoto broadcast lens, delivering 66x magnification and the operability of a 2/3” HD field lens, all with 4K performance. The lens has a telephoto end focal length of 600mm (1200mm when using the built-in 2x extender), making it ideal for shooting live sports, nature, concerts, live events and other applications where focal length on the telephoto end is prioritized.

The UHD-DIGISUPER 66 broadcast lens achieves 4K optical performance while providing higher magnification than our XJ60x9B HD lens. Our exclusive optical design technology helps ensure consistent 4K resolving power and high contrast from the center of the screen to the periphery. The use of a new floating inner focus system helps minimize focus aberrations and further improves resolving power at the periphery of the screen.

The lens also features a combination of specialized materials, contemporary optical design and multi-layer coatings to produce outstanding 4K imagery, effectively deriving the potential of 4K cameras and expanding possibilities for image expression. The design strategies and optical materials were utilized to help lower the monochromatic and the chromatic optical aberrations to a level consistent with the highest quality 4K portrayal on large screens.

Minimized Chromatic Aberration
Fluorite and UD glass have been generously utilized and optimally arranged for better correction of chromatic aberrations. This increases image clarity with less color bleeding or coloring around the outlines, achieving superb color reproduction to the edges of the images.

Reduced Ghosting
The lens coating helps to control the reflection on the lens barrel’s inner surface, helping suppress ghosting and flaring, resulting in HDR-compatible high-contrast images.

Maintains 4K Optical Performance with 2x Extender
4K optical performance is maintained when the 2x extender is deployed.

When shooting in demanding 4K, even the slightest vibration can affect image quality. Canon’s optical and servo technologies are employed to help ensure 4K performance even when using Image Stabilization (IS). The UHD-DIGISUPER 66 broadcast lens is able to achieve high vibration reduction rates in higher frequency bands (with excellent performance at the telephoto end) and stable operation even when panning.

This function brings changes in angle of view due to focusing (“breathing”) down to near zero. It functions by counteracting the zoom effect by the focus group movement to cancel out the effect on the angle of view.

Great consideration was given to the requisite precision mounting of all optical elements required to maintain full 4K performance over the extended focal range of the UHD-DIGISUPER 66 broadcast lens. Maintaining precision focus tracking over that long zoom rage was a central design priority. Digital servo speed has been optimized to meet the many operational requirements that support creative coverage of sporting events. Advanced, contemporary optomechanical design strategies were used to produce an overall lens size that contributes to its operational ease.

The UHD-DIGISUPER 66 broadcast lens utilizes the same standard controllers for zoom and focus operations that have been optimized over decades of Canon HDTV field lens developments. The lens also uses the standard Canon 20-pin connector that provides an interface for the digital precision positional information of the zoom, focus, and iris operations required by many external virtual systems. The positional data is internally created by high precision digital encoders.

The UHD-DIGISUPER 66 broadcast lens offers similar mobility and shooting style similar to our DIGISUPER 60 xs (XJ60x9B) 2/3” HD lens, while keeping the improvements in magnification and 4K performance.



Product Category

Field Lens

Product Series


Image Composition

Object Image Format

2/3 inch

Aspect Ratio


Zoom Ratio


Focal Length Range

9.0 ~ 600 mm

Focal Length Range with Extender

18.0 ~ 1200 mm (with 2x Extender)

Angular Field of View

56.1° × 33.4° at 9mm
0.92° × 0.52° at 600mm

Angular Field of View with Extender

29.9° × 17.1° at 18mm (with 2x Extender)
0.48° × 0.26° at 1200mm (with 2x Extender)

Optical Brightness

Maximum Relative Aperture (F-Number)

1:1.7 at 9 - 340 mm
1:3.0 at 600 mm

Maximum Relative Aperture (F-Number) with Extender

1:3.4 at 18 - 680 mm (with 2x Extender)
1:6.0 at 1200 mm (with 2x Extender)

Scene Composition

MOD From Front of Lens

3.0 Meter

Scene Object Dimensions at MOD

287.9 x 161.9 cm at 9 mm
4.4 x 2.5 cm at 600 mm

Scene Object Dimensions at MOD with Extender

144.0 x 81.0 cm at 18 mm (with 2x Extender)
2.2 x 1.3 cm at 1200 mm (with 2x Extender)

Physical Attributes


9.9in (250.6mm)


10.1in (255.5mm)


24in (610mm)


51.1 lbs (23.2kg)




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Canon Broadcast Lenses

Learn about Canon's lineup of Broadcast lenses.

Canon and Esports Stadium Arlington Testimonial

The largest dedicated Esports facility in North America, Esports Stadium Arlington is a 100,000 square foot facility built for the unique needs and demands of the esports community. To help capture the action, they’ve outfitted the stadium with Canon’s UHD-DIGISUPER 66 4K Broadcast Lenses.

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White Papers

Augmented Creative Control: Innovations in Focus Demand and Zoom Demand Controllers for 4K UHD Long Zoom Field Lenses
Today, large format lens-camera systems have been adopted in many broadcast television productions and producers, directors, and camera operators have now become both attached to, and skilled in, the cinematic imagery and practices supported by these systems. In particular, the “rack focus” is much used in movie and episodic television dramas. This entails a subtle change in depth of field that reveals some new detail (can be an item or another human subject) in a scene – by careful manual operation of the lens focus control. Operational implementation involves changing the focus of the lens during a continuous shot – and this can be small or large changes of focus. If the focus is shallow, then the technique becomes more noticeable. It does demand precision control over focus accuracy.

Very wide rotation angles – typically 270 degrees or greater (from MOD to Infinity focus extremes) – has long been established in the cine lenses (both primes and zooms) used in the motion picture film world.
Role of the 2/3-inch Image Format in 4K UHD Production
This paper is intended to provide a background to the emergence of 2/3-inch lens-camera systems for 4K UHD production and the optical performance expectations of associated 4K lenses. The paper will review Canon’s involvement in the development of those lenses and will describe our initial 4K UHD lens family and the associated design strategies to achieve this impressive level of optical performance. The paper will explain the unprecedented strategy of introducing two categories within this new 4K UHD lens family – namely, 4K and 4K PREMIUM. The distinct performance difference between the two reflects Canon’s recognition that different 4K program genres will require different levels of overall cost / performance.
Lens Strategies for the era of 4K UHD Digital Motion Imaging
It was probably inevitable that broadcasters would begin to explore the possibilities of 4K UHD for the globally popular world of outside broadcast sports coverage; and indeed, recent years have seen a great deal of related experimental projects. The 4K UHD lens issue soon surfaced as the limitations of presently available Super 35mm zoom lenses quickly became apparent.

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† Prices and specifications subject to change without notice. Actual prices are determined by individual dealers and may vary.

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