BLAZAR says the APEX anamorphic lenses are the world’s first to feature autofocus and come in Canon RF, Sony E, Nikon Z, and L mounts. The company was previously known as Great Joy and has released different lines of lenses. These include the Cato and also the Remus line of anamorphic full-frame prime lenses. The Remus line debuted in late 2023 and added more focal lengths this year.

BLAZAR APEX Anamorphic AF lenses – features

The BLAZAR APEX 1.33x Anamorphic AF lenses are compact, making them easy to carry and use. The lenses will cover the S35 APS-C sensor and feature advanced eye-tracking technology for fast autofocus. BLAZAR also promises a cinematic 1.5x look when it comes to the APEX’s 1.33x anamorphic squeeze. (For a true 1.5x anamorphic look, please check the company’s Remus line).

Using anamorphic lenses is a mix of art and science and usually requires specialized rigging to focus the lenses manually. As my colleague Omri Keren Lapidot said, it’s not for the faint-hearted. With the BLAZAR APEX 1.33x Anamorphic AF lenses, the autofocus is fast and precise, although the new primes can be switched to manual focus mode.

The full feature list includes:

• 1.33x anamorphic squeeze with a cinematic 1.5x look.
• 35mm and 50mm at T1.8.
• Covers S35 sensors while supporting APS-C (no open-gate).
• Fast autofocus with real-time and accurate tracking and advanced eye-tracking.
• 0.8 focus ring.
• 180° focus rotation.
• 73.5° aperture rotation.
• 16 IRIS blades.
• Close focus of 2.1 ft (0.65 m)
• AF/MF focus switch.
• Nearly zero lens breathing (<0.9%).
• Natural and subtle silver lens flare.
• Vintage look with barrel distortion.
• 80mm front diameter.
• 77mm*0.75 filter thread.
• Weighs 717 g (1.58 lbs), making it easy to use and carry.
• E, Z, RF, and L mounts are supported.

Please be sure to check out my colleague Johnnie Behiri’s review of the BLAZAR APEX 35mm and 50mm T1.8 1.33x Anamorphic AF lenses. He had the opportunity to use both lenses with a Sony FX30 while at the Sony Kando event in the Austrian Alps.

Price and availability

The BLAZAR APEX 50mm T1.8 1.33x Anamorphic AF lens (E-Mount) is now available for preorder at an affordable $899. ($799 during the preorder period). Considering anamorphic lenses can retail for thousands of dollars each, the $899 price for an anamorphic prime featuring autofocus is very good. Learn more on BLAZAR’s APEX website.

What are your thoughts on the BLAZAR APEX 50mm T1.8 1.33x Anamorphic AF lens featuring autofocus? Will you be preordering the 50mm? Let us know in the comments below!

Thypoch, a sister company of DZOFILM, has launched the last lens in their Simera-C line, adding the ultra-wide 21mm to the series of compact high-speed cine primes. Inspired by the Simera photography edition of lenses, the initial four lenses in this series were released in October 2024. The lenses are full-frame and compatible with many cinema cameras on the market. Referred to as Thypoch’s “storytelling lens,” they offer a balance between the realism of still photography and the softness of film. The lenses minimize chromatic aberration and provide refined bokeh and edge fall-off, which, according to Thypoch, offers a slight softness that adds dimensionality and should be a perfect choice for cinematic storytelling.

The features of the new Simera-C 21mm T1.5 are consistent with the other lenses in this series:

• 16 aperture blades for smooth and rounded bokeh
• 210° focus control throw
• 67mm front diameter (excluding 75mm T1.5 of 72mm), and M62*0.75 filter size (excluding 75mm of M67*0.75)
• Dual focus scales in metric and imperial units

The minimum focusing distance is 0.23m / 9.05in and is the closest focusing lens in the series. It measures 78.6mm / 3.09in and weighs 491g / 1.08 lbs. With a minimum focusing distance of 0.23 meters, this lens should offer some nice close-up shots with good detail.

The lens features two aspherical elements, three low-dispersion elements, and three high-refractive-index elements designed to reduce flare and chromatic aberration. It delivers consistent resolution across the frame and retains natural texture, particularly at portrait distances. Because of its compact size and weight, the lens can be used in more diverse situations, including setups like the DJI Ronin 4D for aerial or action shots, and shooting scenes in tight or confined spaces.

Price and availability

The Simera-C FF 21mm T1.5 lens, offered in a black E-mount version, is set to begin shipping this month with a price tag of $879/€799. The complete Simera-C 5-lens set (21mm, 28mm, 35mm, 50mm, and 75mm), packaged in an aluminum hard case with a shoulder strap and sized for carry-on luggage, is priced at $4,048/€3,679. For more information and further details, please see the Thypoch website.

How would this lens stack up against other wide-angle lenses you’ve worked with? Do you own a lens from the Simera-C series, and what is your experience with it? Let us know in the comments.

Chinese lens manufacturer Venus Optics is well-known for creating one-of-a-kind lenses, whether for the photo or cinema market. After many releases over the past couple of months, including the Laowa Ranger, Nanomorph LF, and Sword series of lenses, to list a few, the company is back with a more “simple” prime lens, nearly entirely manual, that feels like a come back to their roots: the 15mm F/5 Cookie.

Laowa 15mm F/5 Cookie – features

The Laowa 15mm F/5 Cookie is a compact and lightweight lens that only measures around 35.2mm/1.38in for a weight of 138g/4.76oz for the Sony E and Nikon Z mount versions and 25mm/0.98in for the Leica M, Canon RF, and L-Mount versions that ticks the scale at 104g/3.66oz. So why is there a difference in size and weight, as all lenses cover full-frame image sensors?

As you can see, the Nikon Z and Sony E-Mount versions feature electronic contacts on the lens mount. While all lenses are manual focus only, the latter doesn’t have an iris ring, as you can adjust the exposure in the camera. Also, the Sony and Nikon versions of the Laowa 15mm F/5 Cookie are compatible with Auto-Aperture modes.

With a large field of view of around 110° on a full-frame camera, the 15mm F/5 Cookie sounds like a great companion for landscape photography, especially if you want to travel, hike, or explore with a compact camera setup.

Lens design

The lens design of the 15mm F/5 Cookie consists of 13 elements in 9 groups, including four ultra-high refraction lenses, two aspherical lenses, and four extra-low dispersion lenses for improved color accuracy, enhanced image quality, and reduced chromatic aberration.

The lens has a very close minimum focusing distance of only 12cm/4.72in. Moreover, the 5-blade aperture will produce an interesting 10-point Sunstar. Lastly, this 15mm F/5 Cookie has a removable sun hood and a 39mm front filter thread.

Pricing and availability

The Laowa 15mm F/5 Cookie is available now for $399/€517.

For more information, please visit Laowa’s website here.

What do you think about this compact ultra-wide angle prime lens? Did you already shoot with Laowa lenses? What is your go-to ultra-wide angle lens? Don’t hesitate to let us know in the comments below!

These lenses—the 16mm f/1.4, 23mm f/1.4, 30mm f/1.4, and 56mm f/1.4—aren’t exactly new. They’ve been available for other mounts like Sony E, MFT, Leica L, Nikon Z, and FUJIFILM X for a while.

SIGMA’s 16mm, 30mm, and 56mm f/1.4 DC DN Contemporary lenses have been featured on CineD before. In February 2022, we covered their release for the FUJIFILM X-mount, highlighting their fast apertures and compact design for APS-C sensor cameras. For more insight into their performance on other systems, check out the full article here.

Now, Canon users have access to the same designs that have already gained some traction with photographers and videographers working with different systems. Here’s a closer look at what each lens brings to the table.

SIGMA 16mm f/1.4 DC DN Contemporary

• 35mm Equivalent Focal Length: 25.6mm
• Aperture Range: f/1.4–f/16
• Filter Size: 67mm
• Weight: 405 g (14.29 oz)
• Price: $449
  Check out the SIGMA 16mm f/1.4 on B&H

The 16mm f/1.4 is a wide-angle lens designed for things like landscapes, architecture, and astrophotography. It’s relatively lightweight and has a bright maximum aperture, which can help in low-light situations or when you want to blur out the background a bit. It might be a solid option for RF APS-C users if you’re looking to shoot wide without breaking the bank.

SIGMA 23mm f/1.4 DC DN Contemporary

• 35mm Equivalent Focal Length: 37mm
• Aperture Range: f/1.4–f/16
• Filter Size: 52mm
• Weight: 320 g (11.29 oz)
• Price: $549
  Check out the SIGMA 23mm f/1.4 on B&H

With its focal length equivalent to 37mm on full-frame, the 23mm f/1.4 lands in that sweet spot for street photography, travel, and everyday shooting. It’s compact, fairly lightweight, and offers a bright aperture for shooting in lower light. Some photographers may appreciate its versatility, as it’s close to a natural field of view.

SIGMA 30mm f/1.4 DC DN Contemporary

• 35mm Equivalent Focal Length: 48mm
• Aperture Range: f/1.4–f/16
• Filter Size: 52mm
• Weight: 265 g (9.35 oz)
• Price: $339
  Check out the SIGMA 30mm f/1.4 on B&H

The 30mm f/1.4 offers a slightly longer perspective compared to the 23mm, making it a decent option for portraits or general-purpose use. Its f/1.4 aperture lets in plenty of light and can give you some separation between your subject and the background. It’s also on the lighter side, so it won’t weigh down your kit.

SIGMA 56mm f/1.4 DC DN Contemporary

• 35mm Equivalent Focal Length: 89.6mm
• Aperture Range: f/1.4–f/16
• Filter Size: 55mm
• Weight: 280 g (9.88 oz)
• Price: $479
  Check out the SIGMA 56mm f/1.4 on B&H

The 56mm f/1.4 sits in the telephoto range for APS-C cameras, making it an interesting choice for portrait photographers. It’s small, relatively light, and has an aperture that works well for low light and shallow depth of field. Videographers might also find it useful, given its minimal focus breathing and smooth autofocus performance.

More Options for Canon RF APS-C Users

Canon RF APS-C users haven’t had much variety when it comes to third-party autofocus lenses, so this announcement from SIGMA is a big deal. It doesn’t hurt that these lenses have already proven themselves on other platforms, either. Whether you’re after a wide-angle lens for landscapes or a telephoto option for portraits, this lineup offers a range of focal lengths and price points.

As a RED KOMODO shooter, it’s exciting to see more lens options becoming available for the RF system, particularly for APS-C mounts. While the KOMODO has its own specific needs, the addition of third-party lenses like these from SIGMA is a promising step toward greater flexibility across the RF ecosystem.

If you’re interested in diving deeper into the details of these lenses, including performance and design, you can check out the full write-up on B&H Explora.

What do you think of SIGMA’s Contemporary line for the Canon RF APS-C system? Are these lenses a game-changer for RF users, or do you see yourself sticking with other options? Share your thoughts in the comments below!

Sony’s G Master series of E-mount lenses are well regarded for their high resolution, clarity, and bokeh. They offer a wide range of focal lengths, including prime and zoom lens options. Many of the G Master lenses are compact and light to carry and use.

A closer look at the Sony FE 28-70mm F2 GM lens

The new Sony FE 28-70mm F2 GM lens is fast and compact, making it easy to carry and shoot. The F2 maximum aperture delivers sharp images with minimal aberration, while the smooth, cinematic bokeh opens up opportunities for creative expression. The 28-70mm zoom range also cuts down on the need to carry and swap out prime lenses.

Thanks to its fast F2 aperture, there isn’t as much of a need to boost ISO or slow the shutter, resulting in less noise and blur. Sony says the new FE 28-70mm F2 GM lens has the performance of a prime but the convenience of a zoom.

While the new Sony FE 28-70mm F2 GM lens is similar to the compact FE 24-70mm F2.8 GM II zoom introduced in April 2022, it is faster at a constant F2. This prevents the need to boost ISO, helping to keep image noise down.

The Sony FE 28-70mm F2 GM lens features excellent corner-to-corner resolution at F2, the G Master line’s famous bokeh, suppressed aberration, minimal flare and ghosting while retaining clear images, and high resolution similar to prime lenses.

Full list of features

• Maximum aperture of F2, minimum of F22.
• Constant F2 across the entire 28-70mm zoom range.
• Four XD (extreme dynamic) Linear Motors for smooth, fast, precise, and quiet AF. Accurately tracks subjects up to 120 fps (photos) and 4K 120p (video). Two motors for each of the focus groups, IF (internal focus) and floating focus.
• Minimum focus distance of 0.38 m (1.25 ft.) across the entire zoom range via the floating focus mechanism, resulting in high resolution.
• Linear control when focusing manually.
• Maximum magnification of 0.23x.
• 11-blade circular aperture unit, producing smooth ball bokeh.
• Lens construction: 14-20 (groups-elements).
• Filter diameter of 86mm.
• Three XA (extreme aspherical) elements and three normal aspherical elements help with crisp resolution and cut down on aberrations, onion ring bokeh, and color bleeding.
• 3x Super ED (extra-low dispersion) suppresses, and 1x ED glass suppresses chromatic aberration, plus an aspherical lens further minimizes aberrations. 
• Nano AR Coating II to minimize and suppress internal reflections, cutting down on flare and ghosting.
• Minimal breathing, which is critical while filming video.
• Dust and moisture resistant design (DMR).
• Sony E-mount.
• Plastic construction makes the lens lightweight and easy to carry.
• A compact lens design of 92.9 mm × 139.8 mm (3.66 in x 5.5 in) and 918 g (2 lbs).
• Other features include:
  • Customizable focus mode switch (manual or auto).
  • IRIS LOCK switch.
  • Zoom ring.
  • Focus ring.
  • Zoom smoothness switch.
  • Aperture click switch.

Price and availability

The fast and compact Sony FE 28-70mm F2 GM lens will be available in December 2024 and will retail for $2,898 (€3,600). The lens is a worthy addition to the G Master line and will work well with the new Sony A1 II and other Sony Alpha Series of lenses, particularly the Sony A9 III. Visit Sony’s website to learn more.

What are your thoughts on the new Sony FE 28-70mm F2 GM lens? Will you be adding it to your bag of G Master lenses? Let us know in the comments below!

Over the past year, we have seen a fast acceleration toward what could be “the next big thing” in our industry: large-format cinematography. With the announcement of the URSA Cine 17K back at NAB in April, Blackmagic Design has already expressed their intention to embrace this visually spectacular capture technique, and, just a few days ago, so did FUJIFILM by unveiling their first-ever filmmaking camera, the large-format GFX ETERNA (make sure to watch our interview with the FUJIFILM Product Planner here).

As the interest in large-format cinema grows, so does the demand for lenses capable of covering the larger digital sensors. Rehousing vintage glass designed for medium-format film cameras, like Hasselblad or Mamiya, is a valid option. And even IronGlass recently announced they’re starting to rehouse Soviet Medium Format optics. However, it’s also great to see historical companies like Cooke bringing the iconic look of their Speed Panchro lenses to the larger 65mm format.

Cooke Panchro 65/i – The “Cooke Look” goes large format

The Cooke Panchro 65/i series will have six focal lengths: 30mm T2.8, 40mm T2.8, 55mm T2.5, 75mm T2.5, 100mm T2.5, and 152mm T2.9. These lenses are relatively fast, especially considering they are designed for large-format sensors. When paired with the ARRI Alexa 65, they offer an angle of view ranging from 20.2° to 84.1°. Their weight varies between 1.8 and 2.3kg, but that’s to be expected, given their design and coverage.

While Cooke hasn’t disclosed much info about the Panchro 65/i series, the lenses should combine the signature “Cooke Look” with technologically advanced features such as the company’s proprietary /i lens data protocol, which should allow these lenses to fit into modern production workflows seamlessly.

Despite the larger image circle, these lenses should retain the organic bokeh, natural warmth, carefully calibrated chromatic aberration and distortion, subtle flares, and overall nostalgic feel that Cooke lenses are known for.

Price and availability

There’s currently no official information regarding the price and availability of the Cooke Panchro 65/i lenses. The company should announce an official launch date in early 2025, while the first demo units should become available towards the end of next year.

For more information, please visit Cooke’s website here.

Are you excited about the large-format trend? Do you think the “Cooke Look” can pair well with 65mm imagers? Let us know your thoughts in the comment section below!

SIRUI is known for affordable accessories and recently launched their Aurora series consisting of fast, autofocus lenses for full-frame, mirrorless cameras. My colleague Graham also reviewed their 18-36° Projector Zoom Lens for COB lights in case you missed it.

SIRUI 40mm T1.8 1.33x S35 AF anamorphic prime lens – features

The SIRUI 40mm T1.8 1.33x S35 AF is unique in that anamorphic lenses are usually manual focus. This new lens features fast and precise autofocus with an advanced STM motor. Meanwhile, the lens also includes eye focus capabilities, making subject tracking easier while filming or shooting photos. The autofocus feature can be turned off for manual use. Minimum focusing distance is 0.6 m (1.97 ft.), along with a diameter of 77mm. The focal length equivalent is 42mm.

The BLAZAR APEX 35mm and 50mm anamorphic lenses, recently announced at IBC 2024, also feature autofocus. You can read up on my colleague Johnnie’s review of both BLAZAR APEX lenses here.

Combining the 1.33x squeeze and filming in 16:9 will result in a very cinematic, widescreen 2.35:1 aspect ratio. There is no need to crop the image to get the widescreen look. Additionally, SIRUI states that colors remain accurate and vibrant. There are also two flares available per the light source used, neutral or blue.

The T1.8 aperture is fast and works well in low-light situations, so a high ISO is unnecessary. Images can retain soft bokeh while subjects remain sharp, even in dim lighting. Minimum aperture is T22, and it features a step-less aperture design.

SIRUI kept the lens design compact with a weight of just 614g (1.35 lbs.), making it easy to carry and perfect for run-and-gun shooting. The autofocus is also very helpful with filming on the go. E, MFT, Z and X mounts are supported.

In addition, my colleague Johnnie Behiri is working on a review of the SIRUI 40mm T1.8 1.33x S35 AF anamorphic prime lens.

SIRUI has recently released several lenses, including the Aurora series, starting with a fast full-frame 85mm F1.4 AF prime. The new lens will work with full-frame mirrorless cameras and will be joined by five more lenses in the series.

Price and availability

The SIRUI 40mm T1.8 1.33x S35 AF anamorphic lens will launch on Indiegogo on November 25, 2024. Check out the campaign here for more information, pricing, and specials.

At the end of every crowdfunding-related article, we remind you to please be aware of the risks when backing a project on a crowdfunding platform. Also, please read the platform’s use and remember there can be significant delays when delivering the product. Some projects don’t get delivered at all. Having said that, SIRUI has launched several successful campaigns.

What do you think of this new SIRUI AF anamorphic prime lens? What are your thoughts on anamorphic lenses featuring autofocus? Let us know in the comments below!

The ZEISS Supreme Prime Radiance cine lenses debuted back in November 2019 initially as a fast T1.5 7-lens set (21mm, 29mm, 35mm, 50mm, 85mm, and 100mm). The primes featured a signature T*blue coating for a slightly warmer color, more character, and consistent and controllable flares. Nearly 18 months later, in 2021, ZEISS released more focal lengths, rounding out a complete set of fast, T1.5 primes (18mm, 40mm, 65mm, and 135mm).

The Supreme Zoom Radiance lenses add a much-needed new functionality with zoom. And while they’re a little slower at T2.9, the new cine zoom lenses fit in perfectly not only with the Supreme Prime Radiance lenses but the entire ZEISS Supreme line.

ZEISS Supreme Zoom Radiance zoom lenses – features

The ZEISS Supreme Zoom Radiance lenses feature the same overall look with a slightly warmer color rendition and character as the Prime Radiance versions. There is a more gentle sharpness with a very shallow depth of field and smooth bokeh. While they complement the Supreme Prime Radiance lenses, the Zoom line can be paired up with the standard Supreme lineup. ZEISS says they also work well with vintage glass, such as the Canon K35s.

Another aspect of the overall look of the Supreme Zoom Radiance lenses is the famous T* blue coating, the same as the Primes, giving a warm color rendition and consistent flares, plus offering more creative options. Additionally, controllable flares add another artistic and creative touch to a scene. The T* blue coating allows for flares that can be controlled and reproduced by aiming a focused light down the barrel. The flares’ shape can change while zooming the lens. That doesn’t mean there will always be flares in a shot; the lenses present a normally rendered shot.

Features include:

• T2.9 aperture.
• 15-30mm, 28-80mm, and 70-200mm focal length lens options.
• Consistent and standard focus, iris, and zoom rings.
• Front diameter of 114mm, easy to swap between the cine zoom and primes.
• T* blue coating, giving warm color rendition and consistent flares
• Compact design and a maximum weight of 3.18 kg (7.01 lbs.).
• ZEISS eXtended Data technology: Metadata of vignetting and distortion are exported, frame-by-frame, using the Cooke /i technology protocol.
• Integration with ZEISS CinCraft Scenario for virtual production via the Virtual Lens Package (VLP).

Price and availability 

Pre-orders start now for the three ZEISS Supreme Zoom Radiance cine zoom lenses, with shipping expected in April 2025. Pricing has not been set yet, but the Primes each range in price from $20,000 to $31,000, making them a popular lens to rent.

The three Supreme Zoom Radiance lenses provide a complete set of focal lengths, wide to telephoto (18mm all the way up to 200mm). This gives far more flexibility and versatility than the Primes Radiance lenses. There is less swapping of glass during setups, saving time. The big advantage, however, is being able to use the lenses together, even in a multi-camera setup, without having to worry whether the image will match or not.

Visit the ZEISS Supreme Zoom Radiance page to learn more. The company will officially debut the ZEISS Supreme Zoom Radiance cine zoom lenses during the CAMERIMAGE International Film Festival in Toruń, Poland, on November 19 at 3 pm local time.

What do you think of the new ZEISS Supreme Zoom Radiance cine zoom lenses? Have you been shooting with the Supreme Prime Radiance glass? Let us know in the comments below!

A relatively late bloomer, it seems Nikon is determined to close any cine-hybrid gap they had with competitors. Although launching the first video-capable DSLR, the Nikon D90, the company then took a rather conservative approach, prioritizing stills over video at every major decision milestone.

The change came slowly, with notable milestones such as the announcement of the 4K capable D850 and the launch of the mirrorless Z system. Still, the game-changer was the impressive Z 9 flagship, followed by its more earthly sibling, the Nikon Z 8. After proving their intention with this duo, the company acquired cine camera manufacturer RED, fortifying their newfound position as a hybrid contester.

Cameras are just one piece of the puzzle

As any seasoned filmmaker knows, a camera is only as good as the lens in front of it (and as the filmmaker using it, of course). While Nikon has granted us a relative wealth of high-end optics, none are tailor-made for filmmaking. This announcement changes that.

The future NIKKOR Z 28-135mm f/4 PZ Zoom is made to cater to various filmmaking needs. The lens’ all-around design will make it perfect for ENG, run-and-gun documentaries, events, small and medium local TV and commercial studios, and more. While we have no official information yet, the new NIKKOR bears a stark resemblance to the decade-old Sony FE PZ 28-135mm f/4 G OSS Full-Frame Power Zoom lens.

The segment is getting crowded

Cine-hybrid lenses are all the rage these days. Canon has just announced a trio of hybrid lenses for their RF mount, following an earlier 24-105mm f/2.8 L lens. Sony boasts a relatively wide power zoom (PZ) line, and FUJIFILM also offers an 18-120mm f/4 power zoom lens. Nikon’s future entrance into this fray may be crucial to the company’s success in the cine-hybrid segment.

Price and availability

No details regarding price and availability have been published. My bet revolves around $2-3.5K and is based on the pricing of the Sony 28-135 f/4 G OSS PZ ($2,500) and the Canon RF 24-105mm f/2.8 L IS USM Z ($2,999).

Will this future lens make you consider the Nikon Z system as a serious option for filmmaking? Let us know in the comments.

Canon continues to expand their RF lineup by adding four new lenses before the end of the year. Two primes (RF24mm F1.4 L VCM, RF50mm F1.4 L), a zoom (RF70-200 F2.8 L IS USM Z), and a VR lens for those looking into new formats (RF-S7.8mm F4 STM DUAL lens). This lens is compatible with the Canon EOS R7 camera and works like a traditional RF-mount lens, making it accessible and attractive for creators entering the VR world.

Canon RF24mm F1.4 L VCM and RF50mm F1.4 L VCM

Happy times for Canon ‘bokeh-lover’ users with these two new hybrid RF fixed lens lineup additions that feature a maximum aperture of F1.4. Months ago, the company launched the first hybrid lens of the series, the RF35mm F1.4 L VCM, which sits in the middle of these new lenses regarding its focal length. 

Both the RF24mm L and RF50mm L are designed and advertised as photo/video lenses. They take advantage of Canon ecosystem features like fast and precise autofocus and an optical design that ensures high image quality. The fast aperture makes them perfect for low-light shooters like documentary filmmakers or journalists.

Both lenses are compact (3.9 inches/9.9cm) and lightweight (18.1 ounces/513 grams for the RF24mm and 20.4 ounces/578 grams for the RF50mm) and feature a unified exterior, helping gimbal users with a more straightforward setup. 

Finally, the lenses’ apertures can be controlled via their iris rings, and both feature a lens function button and customizable control and focus rings.

Canon RF70-200 F2.8 L IS USM Z

The third addition to Canon’s 2D lens catalog is the classic zoom focal range we have seen everywhere in sports, nature, fashion, and news: the 70-200mm. The new RF70-200 F2.8 L IS USM Z is an RF L series lens that shares the same exterior case design and internal mechanics of the RF24-105mm F2.8 L IS USM Z. Canon assures it also balances effortlessly in gimbals and rigs. The new lens also features optimal image quality with minimal focus breathing, and it’s compatible with extenders and power zoom adapters, which are helpful for video creation.

Other interesting features:

• Close-up shooting with a maximum magnification of 0.3x.
• Image stabilization: up to 5.5 stops in the center on the lens alone, or up to 7.5 stops in the center, and up to 7.0 stops in the corners in coordinate control within-body IS.
• Dust and drip-resistant construction.
• Weight: approximately 1,100gm/2.43 lbs.  

Canon RF-S7.8mm F4 STM DUAL lens

Although virtual reality has been around for many years, it has not really been accessible to the everyday user. Canon wants to change things with releases like the RF-S7.8mm F4 lens, a new addition to the EOS VR System lineup that offers an affordable way to explore storytelling in the expanding world of VR and 3D content creation. Aware of the growing interest in spatial video, Canon designed this 7.8mm, 60-degree lens to capture the format easily.

The RF-S7.8mm F4 STM DUAL lens features a simple workflow to attract new users to this niche. The lens is compatible with the Canon EOS R7 camera, and users can process the captured images with the EOS VR Plug-in for Adobe Premiere Pro and convert the footage to 3D 180° VR. The EOS VR Utility software allows users to convert the footage into 3D 180° VR, 3D Theater, and spatial video, which can be played back on devices like Apple Vision Pro and Meta Quest 3.

With the RF-S7.8mm F4 STM DUAL lens, Canon is not only providing a new visual tool but also enhancing the way creators communicate using emerging VR, spatial, and 3D technologies. This lens allows users to capture immersive content, bridging the gap between traditional content creation and the latest in VR and Spatial imagery. It’s an exciting step forward in making high-quality 3D content more approachable for everyone.

Hiroto Kato, vice president, Imaging Products & Solutions at Canon U.S.A., Inc

Price and availability

The Canon RF70-200 F2.8 L IS USM Z and the Canon RF-S7.8mm F4 STM DUAL lens are scheduled to be available in November at an estimated retail price of $2,999 and $449.99, individually. We will have to wait a bit longer for the Canon RF24mm F1.4 L VCM and the RF50mm F1.4 L VCM, projected to arrive in December at an estimated retail price of $1,499.00 and $1,399.00, respectively.

For more information about the lenses, please visit usa.canon.com.

What do you think about Canon’s new additions? Which ones do you think would be a nice addition to your equipment? Let us know your thoughts in the comments below!