Canon has just announced a brand new lightweight servo lens. The Canon CN-E has a range of 18-80mm and T4.4. A great range, at an even more incredible price range of just over $5000. A Canon servo lens bargain Canon must have had a closer look at their lens market and might have just found a niche in untapped waters. With Canon Cine Zooms in the range of $40,000 – $60,000, and stills zoom lenses at $2000 benchmark, there was a big gap that needed to be filled. Particularly for cinematographers using Canon C100, C300, and C500, an affordable zoom lens that could be utilised for various filming styles is a major step forward. The Canon CN-E 18-80mm is an EF Mount servo lens that covers both Super 35 and APS-C formats. It has a T-Stop of T4.4 (f4), which might not seem fast, but it is constant throughout the zoom range. Measuring 7.2″ long and weighing only 2.65 lb, this lens is designed to be a compact, lightweight solution for a variety of film genres, from narrative work to run-and-gun documentaries. The lens is also parfocal, which minimises focus breathing. The Canon CN-E is equipped with a servo drive unit, which is compatible with industry-standard lens controllers, including Canon ZSD-300D and FPD-400D, for full zoom, focus, and iris control. Alternatively, the optional ZSG-C10 Control Grip can be used for ENG-style lens control and operation. The grip is powered by compatible cameras via the EF mount. For non-servo zoom control, the lens features cine-standard 0.8 mod gears, as well as a rubberised grip on the focus ring enabling comfortable manual operation. Canon CN-E 18-80mm with Handgrip – Photo Credit FDTimes The Canon CN-E 18-80mm Servo Zoom Lens has a built-in optical image stabilisation, something not often seen in cine lenses. The Compact-Servo also features autofocus compatibility with the EOS C300 Mark II and EOS C100 Mark II cameras. This lens has just been announced, so at this stage, we cannot judge on its optical performance. We hope to get our hands on it during NAB. Canon CN-E 18-80mm Specs 18-80 mm zoom range, 4.4x ratio Maximum aperture: T4.4, equivalent to f/4.0 No ramping of aperture throughout zoom range Close focus MOD: 0.5 m Optical image stabilization: On/Off and three levels of stabilization Iris: Auto/Manual Auto Focus / Manual Focus Power through lens mount or connector Filter thread: 77 mm threads for screw-in front filters Front outside diameter: 84 mm Weight: 2.6 lb / 1.2 kg Length: 7.2” / 182.3 mm Iris: 9 blades Servo handgrip: detachable with one screw Back focus adjustment under rear barrel Covers 31.4 mm image diagonal 20-pin connector for lens control and metadata: EIAJ RC5320A TYPE4 (5.5 mm diameter) The Canon CN-E 18-80mm is priced at $5225 and is currently available on pre-order.Read more
The new Saramonic UwMic10 wireless line is the company’s latest addition to their wide catalogue of affordable audio solutions for DSLR/M shooters. One of their most popular products is the SR-AX100, a passive splitter that turns your camera’s stereo mic input to dual mono, and provides individual level controls for two 3.5mm inputs. This simple solution makes it easy to dial the levels of two powered sources, such as a wireless receiver and battery-powered shotgun microphone (like the Rode VideoMic Pro), a common setup for run-and-gun shooters. Alternatively, it allows you to create a safety track at lower gain if you’re only capturing audio with one input. Saramonic also offers similar, battery-powered adapters with XLR inputs, like the SR-AX107. Now, the company’s social media pages have started showcasing their new Saramonic UwMic10 wireless UHF range. Perhaps the most interesting of these is the dual channel TX10 receiver, which can accept two signals simultaneously. The receiver comes bundled with a single RX10 bodypack transmitter that accepts an included lavalier mic through what seems to be a locking 3.5mm jack: a nice touch. At $270, the bundle is certainly priced very attractively, considering it opens the possibility of a versatile two-channel wireless system without extensively (or expensively!) rigging up your camera. Saramonic also offers the HU10, a dynamic handheld microphone with a built-in transmitter. There is also a plug version of the transmitter for use with your own XLR microphone, although it is unclear whether the unit will also provide phantom power. This would be a very useful feature to use, for example, with a condenser shotgun microphone on a boom. As you can see, the sound quality seems to be adequate, offering a decent range without any audio dropouts. A compact setup like this would be ideal for a wide range of run-and-gun situations such as documentary, ENG, weddings and events. The products are available for pre-order from Amazon.com at a highly reduced price, with a shipping date of March 1st. This means the Saramonic wireless line will be available just before Rode’s long-awaited Rodelink Newsshooter announced at last year’s IBC. The latest addition to the Rodelink series is an all-in-one 2.4 GHz digital signal system powerhouse, accepting XLR and 3.5mm, providing phantom power and compatible with NF batteries. It is available for pre-order from B&H with a mid-May estimated release date and will be priced very competitively, at least, when compared to the other big name in wireless microphones for video: the venerable Sennheiser AVX. Will you be trying the Saramonic system?Read more
Arri just announced a run-and-gun camera that seems to fulfill every documentary filmmakers dream. A complete “compact” working tool with Arri Alexa quality, slow motion capabilities, zoom control and no setup time working right out of the box. You could think of it like an old fashioned video camera that had all the ergonomics and versatility laid out for fast one-man poduction, be it a documentary film or news gathering or old fashioned home videos. Here’s a complete solution that brings back all these qualities but made for “cinema” grade results made by the most reliable camera manufacturer of our time. This is an exciting product, so exciting we know it’s going to cost a lot more than most of us could afford. This is definitely a rental camera, not like a 650D you’ve got lying around in your equipment drawer. This is a serious cinema camera, not only for its sensor design, but also because it brings what the Arri Alexa provided: the ergonomics, quality and workflow that helps filmmakers make the best images possible. In terms of workflow Arri integrated “CFast 2.0” which is an in-camera CF memory slot with super-quick data rates. CFast 2.0 is an open format said to deliver a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought down and higher-than-broadcast-quality image pipelines are made available even to low budget productions. Here are the key features of Arri’s new Amira: • Ready to pick up and shoot straight out of the camera bag. (including startup) • creative liberation through functional, user-friendly design. • same amazing sensor as Arri Alexa. • records HD 1080 or 2K (with 4K imager). • 14 stops (clean!) dynamic range. • up to 200fps. • ProRes LT, 422, 422HQ or 444 codecs. • Integrated, motorized ND filters. • peaking, false color, zebra. • OLED viewfinder with extendable LCD on the side. • comes with a number of preloaded 3D LUT-based looks for fast grading. And here’s a sentence from the press-release concerning durability that just has to be quoted: AMIRA is a highly durable product constructed of the strongest possible materials. Sealed electronics provide top-level protection against humidity and dust, while an integrated thermal core results in highly efficient cooling. Productions can take AMIRA anywhere, from jungles and deserts to snow-capped mountain tops, sure in the knowledge that it will not let them down. There are many productions this product is perfectly tailored to. You can be sure this camera will take the video and cinema production world by storm.Read more
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