CANON U.S.A.,Inc. MAKES NO GUARANTEES OF ANY KIND WITH REGARD TO ANY PROGRAMS, FILES, DRIVERS OR ANY OTHER MATERIALS CONTAINED ON OR DOWNLOADED FROM THIS, OR ANY OTHER, CANON SOFTWARE SITE. ALL SUCH PROGRAMS, FILES, DRIVERS AND OTHER MATERIALS ARE SUPPLIED "AS IS." CANON DISCLAIMS ALL WARRANTIES, EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NON-INFRINGEMENT.
CANON U.S.A.,Inc. SHALL NOT BE HELD LIABLE FOR ERRORS CONTAINED HEREIN, OR FOR LOST PROFITS, LOST OPPORTUNITIES, CONSEQUENTIAL OR INCIDENTAL DAMAGES INCURRED AS A RESULT OF ACTING ON INFORMATION, OR THE OPERATION OF ANY SOFTWARE, INCLUDED IN THIS SOFTWARE SITE.
I have read and understand the information above, and wish to download the designated software.
Minimized Chromatic Aberration
An optimized arrangement of fluorite and UD glass help minimize chromatic aberration, increasing image clarity with reduced color fringing on edges.
Special coatings and an internal lens barrel designed to prevent reflection result in clean black reproduction, less ghosting and flaring, sustaining high-tonality images that support HDR.
Built in 2x Extender
4K optical performance is maintained when the 2x extender is deployed.
The center of gravity is close to the mount, lessening strain on the hands and elbows of the camera operator. The ergonomic form factor creates a user-friendly design, including an ergonomic grip design for a comfortable feel during operation, helping to reduce fatigue and make it easy to move the camera about. The lens is sure to satisfy with its high-level combination of excellent specifications, enhanced optical performance, and outstanding usability.
The portable CJ24ex7.5B 4K UHD lens incorporates a digital drive unit, and the high-performance 16-bit encoder supports communication with compatible 2/3" HDTV/UHDTV cameras equipped with aberration correction functionality, without initializing the lens. Three 20-pin connectors enable high-definition lens output for virtual systems even during full-servo operation. In addition, the low power consumption and the simple display enhance operability.
Improved Startup and Mobility
The drive unit of the CJ24ex7.5B 4K UHD lens can output accurate lens position data from the moment the power is turned on and does not require initialization, contributing to the quick start when shooting. This is possible thanks to the drive unit's 16-bit absolute value encoder. Eliminating initialization of the encoder at power-on simplifies calibration when composing virtual and live-action images, and helps to create more accurate composites.
Aberration Correction and Virtual Functions Enabled without Lens Initialization
Aberration correction functions increasingly been employed on 2/3" HDTV/UHDTV cameras for broadcast use. The associated data files are immediately transferred to the camera, which implements digital correction for the lens aberrations. The lens also delivers digital positional data for external virtual systems.
Advanced Virtual Operability and Precise Virtual Image Expression
The drive unit of the CJ24ex7.5B 4K UHD lens uses three 20-pin connectors. One of these connectors outputs 16 bit high precision lens positional data, allowing for output even while the zoom and focus servo controllers are in use. This high-performance encoder helps simplify calibration when composing virtual and live-action images, thus resulting in more accurate composites.
Various digital features can be set, adjusted, and operated from the display on the drive unit.
Image is simulated
The Canon drive unit integrates a variety of operations, stored digitally, that can be manipulated using the display.
By memorizing any two focal lengths, the Canon drive unit can automatically "shuttle" between two points, moving in either direction. As an example, this function is effective for shots in which an operator wants to start from a wide angle and then zoom in rapidly on to an object.
An angle of view can be preset in either of two memories and the lens will zoom at the highest speed, or in a preset zoom speed, to the pre-set position with the push of a simple button. As an example, this function can be effective for situations such as interview programs, where it is necessary to switch between bust shot and wide shot.
A specific zoom speed can be preset in memory making it possible to repeat the zoom speed as often as you like with the push of a simple button. Using a preset speed when zooming in and zooming out contributes to help create stable images, particularly with slow zooms.
Object Image Format
Focal Length Range
Focal Length Range with Extender
Angular Field of View
3.1° × 1.7° at 180mm
Angular Field of View with Extender
1.5° × 0.9° at 360mm (with 2x Extender)
Maximum Relative Aperture (F-Number)
1:2.7 at 180 mm
Maximum Relative Aperture (F-Number) with Extender
1:5.4 at 360 mm (with 2x Extender)
MOD From Front of Lens
Scene Object Dimensions at MOD
4.1 x 2.3 cm at 180 mm
Scene Object Dimensions at MOD with Extender
2.1 x 1.2 cm at 360 mm (with 2x Extender)
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.
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.
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.
† Prices and specifications subject to change without notice. Actual prices are determined by individual dealers and may vary.