Canon BROADCAST TELEVISION LENSES 2015 BROCHURE

Broadcast Television Lenses 2015/2016

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Pioneering excellence in broadcast lenses

Canon is a pioneer in the design of broadcast lenses. It was more than 50 years ago that we introduced the ﬁrst BCTV lens – the “Field Zoom IF-1” with a 6.7x zoom range, which was the highest in the industry at the time. Since then we have energetically advanced the art of high-end optical design on many fronts – working in close collaboration with international broadcasters and producers to develop innovative products and enhance customer satisfaction. Today we oer an exciting range of innovative high-end imaging products that stimulate creativity and deliver superb quality results, as we continue our pioneering pursuit of excellence into the 21st century.

Emmy Award

The National Academy of Television Arts and Sciences awarded Canon an EMMY® in 2005 in recognition of our engineering creativity in Lens Technology Developments for Solid State Imager Cameras in High Definition Formats. We also received an EMMY® in 1996 for “Implementation In Lens Technology to Achieve Compatibility with CCD Sensors”.

Canon’s Worldwide Support Network

Well trained sales people and/or service technicians are ready to support you at these locations.

Customer Satisfaction

Canon is committed to total Customer Satisfaction. To meet this commitment we aim to support users by developing new lens technologies, high-quality technical service systems and other sales support.

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Broadcast Television Lenses

Canon’s Epoch-making Technology

The Latest HDTV Lens Series .... 6

Canon 3D Solution ....................... 7

Auto Focus Technology .............. 8

e-IFxs, HDxs and

HDgc Technology .........................9

Optical Image Stabilizer .......... 10

HDgc Series ......................................11

Studio/Field Lenses

Introduction ....................................12

Field Lenses

DIGISUPER 100AF ....................... 14

DIGISUPER 100 ............................ 14

DIGISUPER 95 .............................. 14

DIGISUPER 86AF .........................15

DIGISUPER 80 ...............................15

DIGISUPER 76 ...............................15

DIGISUPER 60 xs .........................15

Studio Lenses

DIGISUPER 27AF ...........................16

DIGISUPER 27 .................................16

DIGISUPER 22 xs ..........................16

Features ............................................18

Control Accessories .................. 20

Lens Mount Compatibility .......21

Broadcast ENG/EFP Lenses

Introduction ...................................22

HDxs Series

HJ40x14B IASD-V ...................... 24

HJ40x10B IASD-V ...................... 24

HJ18ex28B IASE S ..................... 24

HJ24ex7.5B IASE S/IRSE S .....25

HJ21ex7.5B IASE S ......................25

HJ18ex7.6B IRSE S/IASE S .....25

HJ17ex6.2B IRSE S/IASE S .....25

HJ14ex4.3B IRSE S/IASE S .... 26

HJ15ex8.5B KRSE-V .................. 26

HDgc Series ENG Lenses

Introduction .................................. 28

2/3”

With 2.0x Ext

KJ22ex7.6B IRSE S/IASE S ....30

KJ17ex7.7B IRSE S/IASE S .....30

KJ10ex4.5B IRSE S/IASE S ....30

KJ20x8.2B IRSD ...........................31

Without Ext

KJ20x8.2B KRSD .........................31

KJ13x6B KRSD ...............................31

1/2”

With 2.0x Ext

KH20x6.4 KRSD SY14 ...............32

KH13x4.5 KRSD SY14 .................32

KT20x5B KRSD A .......................32

Features .......................................... 34

Control Accessories .................. 36

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Since the introduction of our first BCTV lens more than 50 years ago, Canon has been developing its know-how and technologies – so that today we offer an extensive range of high end lenses with the flexibility to suit various shooting situations and meet the exacting demands of today’s creative professionals.

EF Cinema Lenses

Remote Control Lenses

Optical Accessories

Introduction .................................. 38

Top-end Zoom Lenses

CN-E14.5-60mm

T2.6 L S/SP .................................... 42

CN-E30-300mm

T2.95-3.7 L S / SP ...................... 42

Prime Lenses

CN-E14mm T3.1 L F ................... 42

CN-E24mm T1.5 L F .................. 42

CN-E35mm T1.5 L F .................. 42

CN-E50mm T1.3 L F .................. 42

CN-E85mm T1.3 L F .................. 42

CN-E135mm T2.2 L F ................ 42

Compact Zoom Lenses

CN-E15.5-47mm T2.8 L S/SP ... 43 CN-E30-105mm T2.8 L S/SP .. 43

Cine Servo

CN7x17 KAS S E1 / P1 ............... 43

CN20x50 IAS H E1 / P1 ............ 43

Features ..........................................44

Introduction .................................. 46

Remote Control Lenses

Broadcast Applications

HJ18ex28B ITS-ME .....................48

HJ22ex7.6B ITS-ME ................... 48

HJ18ex7.6B ITS-ME .................... 48

HJ14ex4.3B ITS-ME ................... 48

KJ17ex7.7B ITS-ME .....................48

KJ22ex7.6B ITS-ME ................... 48

Pro-video Applications

KJ20x8.2B KTS ........................... 48

KH20x6.4 KTS ............................. 48

KT20x5B KTS ............................... 48

Control Accessories .................. 49

System Overview ....................... 50

Converters/Attachments ........50

Filters ................................................52

Close-up Lenses ......................... 53

Extenders ....................................... 53

Understanding

the Lens model

naming conventions

ENG/EFP Lenses

Studio/Field Lenses

Image Size

J = ENG/EFP Lens for 2/3” YJ = Pro-video Lens for 2/3” HJ = High Definition Portable Lens for 2/3” KJ = High Definition Portable Lens for 2/3” (HDgc Series) KH=High Definition Portable Lens for 1/2” (HDgc Series) KT = High Definition Portable Lens for 1/3” (HDgc Series) XJ = High Definition Studio/Field Lens for 2/3” CN= Cinema Style Lens for S35mm (Full size for specific models)

Optical compensation for Prism cameras

B = with Optical Compensation (not Shown with 1/2” models)

Zoom Ratio

Zoom/Focus Control

R = Zoom:Servo/Manual Focus:Manual A = Zoom:Servo/Manual Focus:Servo/Manual T = Zoom:Servo Focus:Servo L = Zoom:Manual Focus:Manual

Special Function (1)

D = Digital Servo Drive for Portable Lens E = Digital Servo Drive with Rotary Encoder (Blank) Analog Servo Drive for Portable Lens

HJ 40x 10 B I A S D – V

XJ 100x 9.3 B IE – D

Focal Length at wide end

Built-in Extender

IE = Built-in Extender I = Built-in Extender K = No Extender V = Built-in 0.8x Shrinker W = Built-in 0.8x Shrinker and 2x Extender

Iris Control

S = Iris Servo L = Iris Manual

Special Function (2)

V = Built-in Image Stabilizer for Portable Lens SC = Cine Style Lens D = DIGISUPER Series for Studio/Field Lens AF = Auto Focus Function

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100

MTF(%)

HDTV

NTSC/PAL

6.6

9.6

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Canon’s Epoch-making Technology

The Latest HDTV Lens Series

Canon began developing lenses for the “HDTV System” more than 20 years ago and continues to lead the broadcast industry into the 21st century “DTV” era – most recently with the next generation of HDTV lenses and our pioneering Cinema EOS 4K lenses. The series are:

Studio/Field Lenses

Shown on Page 14-16, and 24.

Portable HDxs Series

EF Cinema Lens Series

HDxs Series

Shown on Page 24-26.

HDgc Series

Shown on Page 30-33.

Shown on Page 42-43.

ENG/EFP Lenses

ENG Lenses for 2/3" Cameras

Zoom Lenses

Overall Comparison Between the SDTV and the HDTV System

One frame of an HDTV system consists of over 1.5 times more scanning lines than the 480 offered by conventional NTSC SDTV systems. The density of the scanning lines is also higher because the HDTV system has an aspect ratio of 16:9, which is wider and shorter in height than the normal SDTV (4:3 aspect ratio) system. The spatial frequency required for an HDTV system is about twice that required for NTSC.

Overall, the HDTV resolution about double that of SDTV and therefore requires much higher lens performance.

2/3" HDTV NTSC

Image format 9.6 x 5.4 8.8 x 6.6

Nominal frequency 600TVL 400TVL

Spatial frequency 55Line pairs/mm 30Line pairs/mm

Compact Studio Lens

Built-in Optical Image Stabilizer Lens

ENG Lenses for 1/2" Cameras

Prime Lenses

EFP Lenses

ENG Lenses for 1/3" Cameras

Cine Servo Lenses

Depth of Field for HDTV System

As the HDTV system has high resolution, even a small out-of-focus area can be detected. The radius of the permissible circle of blur is also about half that of an SDTV system, so the depth of field becomes proportionately smaller. Focusing therefore has to be done with great care.

Aberration Correction for HDTV Lenses

The pixel size is about half in the HDTV system, and therefore the spread of a point image caused by a spherical aberration, coma, etc. will be reduced by half. Even if the image is slightly out of focus, MTF is greatly influenced. The graph shows how MTF varies when the focus changes. Canon HDxs series lenses employ the HD version of the Power Optical System, which incorporates the X-Element - correcting and minimizing these aberrations in a compact lightweight lens body.

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90 80 70 60 50 40 30 20 10

0.02

0.01

Defocus(mm)

NTSC 400TVL(30lp/mm) HDTV 600TVL(55lp/mm)

Sensitivity of the HDTV System

Sensitivity depends on two factors. Firstly the HD camera’s aspect ratio of 16:9 makes the sensitive area smaller and causes a 10% difference in sensitivity compared to SDTV systems. Secondly the HDTV system’s depth of field is half that of a conventional system – so on an HD cameras, lenses must be stopped down until their F-number is double to

0.01

0.02

F1.6

get the same depth of field. This reduces the sensitivity to one fourth (1/4).

16:9

5.4

ø11

8.8

4:3

Auto Focus Technology

To meet the increasing demand in broadcast HDTV production for highly accurate focusing, Canon has introduced a revolutionary HDTV Auto Focus System. This pioneering technology automatically keeps images in focus, allowing professional camera operators to concentrate on capturing action and

Canon’s advanced Auto Focusing for DIGISUPER HDTV Zoom Lenses employs the TTL-Secondary Image Registration Phase-detection system originally developed for single-lens reflex still cameras, to deliver both high accuracy and a high tracking capability for broadcast HDTV.

beauty shots.

TTL-Secondary Image Registration Phase-detection System

The light transmitted through a pair of secondary imaging lenses focuses on separate sensors (as illustrated). The TTL-Secondary Image Registration Phase-detection System determines the positional relationship between the two images (See “d” in diagram right) to detect the amount and direction of defocusing.

In-focus

Forward focus

Rear focus

Image

Plane

Field Lens

Line

Sensor

Secondary Imaging Lens

Sensor Output

Sensor A

DIGISUPER 100AF

DIGISUPER 86AF

DIGISUPER 27AF

Sensor B

Correct spacing between double images

Narrow spacing between double images

Wide spacing between double images

Features Changeable AF frame Layout of the elements

• Extremely high focusing accuracy in

full HDTV specifications

• Ability to focus from a completely

de-focused status without hunting

• Ability to focus on a high speed

moving object

• Size and position of the AF frame

(target area) in the camera viewfinder can be changed from the Focus Demand FDJ-P31/P41. (The size of the AF Frame can be changed in 3 steps). Please confirm the AF camera-lens interface with your chosen camera manufacturer

• Two operation modes – full time AF

and Part Time AF – to meet needs of professional camera operators

Focusing Group

Variator Compensator

Pupil

Front Relay

AF Canon

Original

Sensor

2 kinds of AF Operation modes with ACTIVE/HOLD switch

Mode FULL TIME AF PART TIME AF

How AF works

Usually activated. Focus position is locked while the SW is pushed.

Usually off. Activated while the SW is pushed.

Prism

Internal

Extender/

Back Relay

Beam

Splitting

Prism

CCD

Recommended Applications

This article refers to Auto Focus Technology for the DIGISUPER HDTV Zoom Lenses listed below. For full lens specifications see Page 14,15 and 16

Sporting event etc. To follow a moving object.

Studio production etc. To confirm the best focus position.

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Canon’s Epoch-making Technology

, and Technology

In 2004, Canon introduced a new broadcast lens technology , with the launch of the J22ex7.6B. Two aspects of the new technology are represented by the letter

“e”. One is “ecological design”, as these lenses are harmless to the environment, the other “enhanced digital” technology, which improves the performance of the digital

drive unit. These improvements are now also incorporated in the (IRSE S / IASE S model) and the lenses.

Enhanced Digital Drive

The , and the (IRSE S / IASE S model) series are

equipped with an information display and digital function selector, an X-Y axis switch, so that users can customise and optimise the enhanced digital functions much more easily and precisely.

• User settings are simple and easy to

operate including: speed preset, frame presets (2 memory positions), shuttle shot, zoom track and new focus preset with IASD/IASE S lens

• Follow signal display for iris, zoom and

focus (IASD/IASE S only) for virtual reality, robotic control and other uses

• User settings for zoom and focus

curve mode offer precise control based upon user requirements

• AUX 1 and AUX 2 switches can be

assigned to basic functions for enhanced memory capability

Rotary Encoder

Canon offers a series of / (IRSE S / IASE S model) lenses,

which are equipped with an enhanced digital drive unit. 16-bit resolution Rotary Encoder Devices are built into the unit, so the lenses can simply be integrated into a virtual digital studio system without any additions. The encoders also enable superior precise control.

• A precise movement mode can be

memorised for the zoom seesaw control, zoom demand control and preset control

• The drive unit can memorise 9 patterns

of user-customised settings and also transmit the data between different drive units

• The self-diagnostic mode provides

error messages

• The HDxs/e-IFxs/HDgc (IRSE S /

IASE S model) Ergonomic Drive Unit is tilted at an ideal angle of

12.5° for good balance and comfort. An information display offers easy, precise and full customisation of enhanced digital functions, which are easily accessed and set via the Digital Function Selector, an X-Y axis switch located next to the display.

The zoom servo provides a dynamic range from 0.5 sec. to over a 5 min. super slow zoom. Repeatability in focus and iris control are also much more precise. Canon’s unique technology has enabled the surprisingly small Encoder Device to be installed in the existing drive unit without any changes in size or weight.

Information Display

Lens with the Optional Encoder Unit

Lens with Encoder Device included in the Drive Unit

Ecological Design

Sustainability is at the heart of Canon’s Kyosei philosophy – living and working together for the common good – and we are always looking to further reduce our environmental impact.

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The avoid using any materials or substances

that are harmful to the environment. For example optical parts feature lead free glass, while mechanical parts are virtually free of all harmful products, such as cadmium, PBBS (Poly Bromo Bi Phenyls), PBDPE (Poly Bromo Di Phenyl Ethers) or mercury.

/ / series

Lead Free Glass

Canon 3D Solution

Left/Right Lenses

Zoom / Focus Demands

Recognising the continuing requirement for 3D program origination, Canon has prioritised adoption of most of the standard HD lens series for 3D production systems. Originally this entailed using our original 16bit resolution encoders, while allowing off sets of zoom, focus and iris positions to compensate for the tracking of each position. However we now have a new solution for a simpler, low cost 3D production system with increased interoperability.

3D Lens Lineups

Canon’s ergonomic Digital Drive Unit incorporates Canon-developed, ultracompact rotary encoders capable of 0.1μm position detection, which produces 16-bit resolution of the positions of zoom, iris, and focus controls. This unique device allows for one zoom controller and one focus controller to simultaneously operate both lenses, while providing even higher interoperability and precision in the synchronisation of zoom, focus and iris positions of the lens pairs.

HJ14ex4.3B IASE HJ18ex7.6B IASE S

HJ24ex7.5B IASE S

HJ21ex7.5B IASE A

HJ17ex6.2B IASE

HJ18ex28B IASE A

Lens Refinements for 3D

The “3D Lens Adjustment Software” makes stereoscopic tracking of the zoom, focus and iris even more precise. It allows appropriate offsets to be easily made using the Digital Drive Unit’s display, to compensate for minor zoom and focus tracking differences between any two lens pairs. Using the software, Canon’s synchronous lens control system doesn’t

System Configuration

20pin

3D Bridge Cable

KJ22ex7.6B IASE KJ10ex4.5B IASE A KJ17ex7.7B IASE

require special controllers. All the servo controllers for digital servo lenses, as shown below, will be compatible by simply connecting the two lenses with a 3D Bridge Cable (BC-100), saving additional costs when implementing 3D production systems.

• ZSD-300D • ZDJ-D02*

• ZDJ-P01*

• FPD-400D • FDJ-D02*

• FDJ-P01*

3D Lens Adjustment Software

3D Bridge Cable

To Left Lens

To Right Lens

*1 BDC-10 conversion cable is necessary to

connect between ZDJ-D02 or FDJ-D02 (18pin) and Digital Drive Lens (20pin).

*2 BDC-20 conversion cable is necessary

to connect between ZDJ-P01 or FDJ-P01 (12pin) and Digital Drive Lens (20pin).

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Canon’s Epoch-making Technology

The products with Optical Image Stabilizer technologies

Optical Image Stabilizer

Vari-angle Prism Image Stabilizer (VAP-IS)

are shown with this legend on pages 14, 15, 24 and 26.

Canon’s portable HD production lens, the HJ15ex8.5B KRSE-V, incorporates an innovative built-in optical image stabilization system – the patented VariAngle Prism Image Stabilizer (VAP-IS) that’s designed to significantly enhance HD motion imaging on location shoots.

It delivers highly stable HD imagery – counteracting a wide range of disturbance frequencies that the lenscamera system may be subjected to in a variety of shooting environments. These can range from the very low frequencies encountered during handheld or

shoulder-mount shooting by a walking or running camera operator, to the higher vibration frequencies associated with shooting from motorbikes, moving vehicles, and helicopters. Various stabilisation modes can be selected to address diverse shooting operations.

Optical Shift Image Stabilizer (Shift-IS)

Canon, renowned for its Optical Image Stabilization technologies, developed a built-in Optical Shift Image Stabilizer (Shift-IS) for broadcast field lenses to overcome image shaking at telephoto focal lengths. First introduced in the super telephoto DIGISUPER 86 xs zoom lens, Shift-IS is now used in the DIGISUPER 100, DIGISUPER 100AF, DIGISUPER 95, DIGISUPER 86AF, DIGISUPER 80, HJ40x10B IASD-V and HJ40x14B IASD-V.

HJ15ex8.5B KRSE-V

DIGISUPER 100AF DIGISUPER 100 DIGISUPER 95

DIGISUPER 86AF DIGISUPER 80

P.26

P.14

P.15

How the Optical Shift Image Stabilizer (Shift-IS) Works

When the lens moves, the light rays from the subject are deflected, relative to the optical axis, resulting in an unsteady image. By shifting the IS lens group on a plane perpendicular to the optical axis to counter the degree of image shake, the light rays reaching the image plane can be steadied. Since image shake occurs in both horizontal and vertical directions, two shake-detecting sensors for yaw and pitch detect the angle and speed of movement and send this information to a high-speed 32-bit microcomputer, which converts the information into drive signals for the IS lens group. The actuator then moves the IS lens group

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horizontally and vertically to counteract the image shake and maintain a stable picture. The Shift-IS component is located within the lens group, without increasing the overall size and weight of the master lens, and is most effective for lower frequency movements caused by platform vibration or wind effect.

HJ40x10B IASD-V HJ40x14B IASD-V

1. Lens when still

To subject

2. Lens when jerked downward

3. Counteraction by IS lens group

Corrected light rays

Position of IS lens group after shifting

Image plane

Camera shake

P.24

100

MTF(%)

How the VAP-IS (Vari-Angle-Prism Image Stabilizer) Works

Under perfect shooting conditions, light rays from a scene pass through the lens optical system in a tightly prescribed manner. Any vibration or jolt to the lenscamera system will deflect those light rays and produce unsteady images. The VAP-IS technology is incorporated within the lens optical system to intercept and correct such light ray deviations in real-time. The technology is based upon a flexible optical bellows that comprises two flat glass elements separated by a special liquid, forming

HDgc Series

a sealed mini-optical grouping within

Static condition

Lens

Image plane

the overall lens element groupings. The bellow expands and contracts when the lens is physically disturbed - and the very high refractive index of the liquid bends the disturbed light rays in the opposite direction. This gives a high

Under stabilisation

Vari-angle Prism

Incident Ray

degree of real-time correction to the angle of the light rays, ensuring their smooth arrival at the image plane.

The details of the HDgc Series Lenses are shown on page 28

Concept of the HDgc Series

The HDgc series supports the emergence of a new generation of cost-effective HD acquisition systems. Using Canon’s unique technology, the new HDgc lenses exhibit high Modulation Transfer Function (MTF), high resolution and high contrast from the centre of the image to its extreme edges, while maintaining compact size and weight.

Comparison of the HDgc series with SDTV Lenses Quality of the HDgc Series

The HDgc Series lenses are based upon Canon’s latest design concepts, which support the new generation of cost-effective HD acquisition systems. They are designed to meet the specific bandwidth frequency (or the number of scanning lines) of HD camera systems and at the same time offer an excellent performance-cost ratio.

Test frequency of Broadcast camera 320 TV lines / 4MHz up to 640 TV lines / 8MHz Up to 800 TV lines

Test frequency of Broadcast Lens 24 lines / mm Up to 48 lines / mm Up to 74 linwes / mm

Actual Canon resolution of Broadcast lens

In the HDTV system the pixel size is about half, so the spread of a point image caused by a spherical aberration, coma etc. will be diminished to about half. The MTF varies as the focus changes and, even if the image is slightly out of focus, the MTF is greatly influenced as shown in Graph 01.

HDgc Lenses are specially designed with optical elements - such as “Hi UD Glass”, “Aspherical Elements” and other special elements - that effectively minimise chromatic aberrations, while maintaining high MTF throughout the image.

SD HDgc

Up to 75 lines / mm Up to 100 lines / mm

90 80 70 60 50 40 30 20 10

0.02

0.01

Defocus(mm)

NTSC 400TVL(30lp/mm) HDTV 600TVL(55lp/mm)

Graph 01

0.01

F1.6

0.02

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Studio Lens

XJ22x7.3B

XJ27x6.5B

XJ27x6.5B AF

Field Lens

XJ60x9B

XJ76x9B

XJ80x8.8B

XJ86x9.3B AF

XJ95x8.6B

XJ100x9.3B

XJ100x9.3B AF

Horizontal Field of View (16:9)

Focal Length (mm)

72.9°

6.5

68.8° 7

66.7°

7.3

58.3°

8.6

56.1°

54.6°

9.3

3.4° 161

1.02° 540

0.69° 800

0.67° 820

0.59° 930

Studio Lens

Field Lens

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XJ22x7.3B

XJ27x6.5B

XJ27x6.5B AF

XJ80x8.8B

XJ86x9.3B AF

XJ95x8.6B

XJ100x9.3B

XJ100x9.3B AF

XJ60x9B

XJ76x9B

Compact Studio Lens

Wide Angle Studio Lens

Wide Angle Studio Lens with Advanced Auto Focus Function

Affordable Field Lens

Standard Field Lens with Superb Quality and Performance

Premium Field Lens with Superb Quality and Advanced Image Stabilizer

Telephoto Field Lens with Auto Focus and Image Stabilizer

Telephoto Field Lens with Advanced Image Stabilizer

Flagship Field Lens with Image Stabilizer

Flagship Field Lens with Auto Focus and Image Stabilizer

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Studio/Field Lenses

DIGISUPER Series

for HDTV / SDTV System

The DIGISUPER series lenses are controlled by Canon’s ground breaking Digital Servo System.

See page 14

DIGISUPER 22 xs

for Portable Camera

The DIGISUPER 22 xs is a studio lens based on a new concept to be used with portable cameras.

See page 16

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Studio/Field Lenses: HDTV

DIGISUPER 100AF DIGISUPER 100 DIGISUPER 95 DIGISUPER 86AF DIGISUPER 80 DIGISUPER 76 DIGISUPER 60 xs

Model Number XJ100x9.3B AF XJ100x9.3B XJ95x8.6B XJ86x9.3B AF XJ80x8.8B XJ76x9B XJ60x9B IE-D

Zoom Ratio 100x 100x 95x 86x 80x 76x 60x

Built-in Extender 2.0x 2.0x 2.0x 2.0x 2.0x 2.0x 2.0x

Range of Focal Length

(with Extender)

Maximum Relative Aperture

(with Extender)

4:3 Aspect Ratio (8.8 x 6.6mm)

Angular Field of View

(with Extender)

16:9 Aspect Ratio (9.6 x 5.4mm)

M.O.D. from Lens Front 3.0m 3.0m 3.0m 3.0m 3.0m 3.0m 2.8m

4:3 Aspect Ratio

(8.8 x 6.6mm) Object Dimensions at M.O.D.

(with Extender)

16:9 Aspect Ratio

(9.6 x 5.4mm)

9.3~930mm

18.6~1860mm

1:1.7 at 9.3~296mm 1:4.7 at 930mm

1:3.4 at 18.6~592mm 1:9.4 at 1860mm

50.6° x 39.1° at 9.3mm

0.54° x 0.41° at 930mm

26.6° x 20.1° at 18.6mm

0.27° x 0.20° at 1860mm

54.6° x 32.4° at 9.3mm

0.59° x 0.33° at 930mm

28.9° x 16.5° at 18.6mm

0.30° x 0.17° at 1860mm

253.9 x 190.4cm at 9.3mm

2.54 x 1.90cm at 930mm

127.0 x 95.2cm at 18.6mm

1.27 x 0.95cm at 1860mm

276.4x155.5cm at 9.3mm

2.76x1.56cm at 930mm

138.2 x 77.8cm at 18.6mm

1.38 x 0.78cm at 1860mm

(2.0x)

9.3~930mm

18.6~1860mm (2.0x)

1:1.7 at 9.3~296mm 1:4.7 at 930mm

1:3.4 at 18.6~592mm 1:9.4 at 1860mm

50.6° x 39.1° at 9.3mm

0.54° x 0.41° at 930mm

26.6° x 20.1° at 18.6mm

0.27° x 0.20° at 1860mm

54.6° x 32.4° at 9.3mm

0.59° x 0.33° at 930mm

28.9° x 16.5° at 18.6mm

0.30° x 0.17° at 1860mm

253.9 x 190.4cm at 9.3mm

2.54 x 1.90cm at 930mm

127.0 x 95.2cm at 18.6mm

1.27 x 0.95cm at 1860mm

276.4x155.5cm at 9.3mm

2.76x1.56cm at 930mm

138.2 x 77.8cm at 18.6mm

1.38 x 0.78cm at 1860mm

(2.0x)

8.6~820mm

17.2~1640mm (2.0x)

1:1.7 at 8.6~340mm 1:4.1 at 820mm

1:3.4 at 17.2~680mm 1:8.2 at 1640mm

54.2° x 42.0° at 8.6mm

0.61° x 0.46° at 820mm

28.7° x 21.7° at 17.2mm

0.31° x 0.23° at 1640mm

58.3° x 34.9° at 8.6mm

0.67° x 0.38° at 820mm

31.2° x 17.8° at 17.2mm

0.34° x 0.19° at 1640mm

274.1 x 205.6cm at 8.6mm

3.0 x 2.3cm at 820mm

137.1 x 102.8cm at 17.2mm

1.5 x 1.2cm at 1640mm

298.1x167.7cm at 8.6mm

3.2x1.8cm at 820mm

149.1 x 83.9cm at 17.2mm

1.6 x 0.9cm at 1640mm

(2.0x)

Approx. Size (WxHxL) 250.6 x 255.5 x 661.5mm 250.6 x 255.5 x 610mm 250.6 x 255.5 x 610mm 250.6 x 255.5 x 661.5mm 250.6 x 255.5 x 610mm 250.6 x 255.5 x 610mm 250.6 x 255.5 x 547.8mm

Approx. Mass 26.8kg (59.3lbs) 23.5kg (51.8lbs) 23.2kg (51.1lbs) 26.8kg (59.3lbs) 23.2kg (51.1lbs) 23.0kg (50.6lbs) 19.9kg (43.8lbs)

Macro –– –– –– –– –– –– ––

Protection Filter

Built-in Optical Image Stabilizer

Crossover Type –– –– –– –– –– –– Optional

Auto Focus System

Reference: The following is the lens angle (without Shrinker) in the 4:3 mode of switchable cameras. Reference: The following is the lens angle (without Shrinker) in the 4:3 mode of switchable cameras.

Angular Field of View

(with Extender)

Standard

• 14

4:3 mode of

Most Switchable

Cameras

(7.2 x 5.4mm)

Not Applicable

• Please refer to page 10, regarding the difference between HDTV and SDTV lenses. Please note that HDTV lenses also perform excellently when they are adopted to SDTV cameras.

• M.O.D. = Minimum Object Distance

• Black colour cover lenses are also available as an alternative to the white colour lenses.

 

  



–– ––

Optional

9.3~800mm

18.6~1600mm (2.0x)

8.8~710mm

17.6~1420mm (2.0x)

9~690mm

18~1380mm (2.0x)

9~540mm

18~1080mm (2.0x)

1:1.7 at 9.3~340mm 1:4.0 at 800mm

1:3.4 at 18.6~680mm 1:8.0 at 1600mm

50.6° x 39.1° at 9.3mm

0.63° x 0.47° at 800mm

26.6° x 20.1° at 18.6mm (2.0x)

0.32° x 0.24° at 1600mm

54.6° x 32.4° at 9.3mm

0.69° x 0.39° at 800mm

28.9° x 16.5° at 18.6mm

0.34° x 0.19° at 1600mm

253.9 x 190.4cm at 9.3mm

2.8 x 2.1cm at 800mm

127.0 x 95.2cm at 18.6mm

3.2 x 1.8cm at 800mm

276.4 x 155.5cm at 9.3mm

3.2 x 1.8cm at 800mm

138.2 x 77.8cm at 18.6mm

1.6 x 0.9cm at 1600mm

(2.0x)

1:1.7 at 8.8~340mm 1:3.55 at 710mm

1:3.4 at 17.6~680mm 1:7.1 at 1420mm

53.1° x 41.1° at 8.8mm

0.71° x 0.53° at 710mm

28.1° x 21.2° at 17.6mm

0.36° x 0.27° at 1420mm

57.2° x 34.1° at 8.8mm

0.77° x 0.44° at 710mm

30.5° x 17.4° at 17.6mm

0.39° x 0.22° at 1420mm

266.8 x 200.1cm at 8.8mm

3.4 x 2.6cm at 710mm

133.4 x 100.1cm at 17.6mm

1.7 x 1.3cm at 1420mm

290.0 x 163.1cm at 8.8mm

3.7 x 2.1cm at 710mm

145.0 x 81.6cm at 17.6mm

1.9 x 1.1cm at 1420mm

(2.0x)

1:1.7 at 9~340mm 1:3.45 at 690mm

1:3.4 at 18~680mm 1:6.9 at 1380mm

52.1° x 40.3° at 9mm

0.73° x 0.55° at 690mm

27.5° x 20.8° at 18mm

0.37° x 0.27° at 1380mm

56.1° x 33.4° at 9mm

0.80° x 0.45° at 690mm

29.9° x 17.1° at 18mm

0.40° x 0.22° at 1380mm

259.9 x 194.9cm at 9mm

3.5 x 2.6cm at 690mm

130.0 x 97.5cm at 18mm

1.8 x 1.3cm at 1380mm

282.4 x 158.9cm at 9mm

3.8 x 2.1cm at 690mm

141.2 x 79.5cm at 18mm

1.9 x 1.1cm at 1380mm

(2.0x)

1:1.7 at 9~306mm 1:3.0 at 540mm

1:3.4 at 18~612mm 1:6.0 at 1080mm

52.1° x 40.3° at 9mm

0.93° x 0.70° at 540mm

27.5° x 20.8° at 18mm

0.47° x 0.35° at 1080mm

56.1° x 33.4° at 9mm

1.02° x 0.57° at 540mm

29.9° x 17.1° at 18mm

0.51° x 0.29° at 1080mm

243.8 x 182.9cm at 9mm

4.1 x 3.1cm at 540mm

121.9 x 91.5cm at 18mm

2.1 x 1.6cm at 1080mm

265.1 x 149.1cm at 9mm

4.5 x 2.5cm at 540mm

132.6 x 74.6cm at 18mm

2.3 x 1.3cm at 1080mm

(2.0x)



 



Optional Optional Optional

–– ––

–– –– ––

43.6° x 33.4° at 9mm

0.76° x 0.57° at 540mm

22.6° x 17.1° at 18mm

0.38° x 0.29° at 1080mm

(2.0x)

• 15

Studio/Field Lenses:

Compact

HDTV

DIGISUPER 27AF DIGISUPER 27 DIGISUPER 22 xs

Model Number XJ27x6.5B AF XJ27x6.5B XJ22x7.3B IE-D

Zoom Ratio 27x 27x 22x

Built-in Extender 2.0x 2.0x 2.0x

Range of Focal Length

(with Extender)

Maximum Relative Aperture

(with Extender)

4:3 Aspect Ratio

(8.8 x 6.6mm)

Angular Field of View

(with Extender)

16:9 Aspect Ratio

(9.6 x 5.4mm)

6.5~180mm

13~360mm (2.0x)

1:1.5 at 6.5~123mm 1:2.2 at 180mm

1:3.0 at 13~246mm 1:4.4 at 360mm

68.2° x 53.8° at 6.5mm

2.8° x 2.1° at 180mm

37.4° x 28.5° at 13mm

1.4° x 1.1° at 360mm

72.9° x 45.1° at 6.5mm

3.1° x 1.7° at 180mm

40.5° x 23.5° at 13mm

1.5° x 0.9° at 360mm

(2.0x)

6.5~180mm

13~360mm (2.0x)

1:1.5 at 6.5~123mm 1:2.2 at 180mm

1:3.0 at 13~246mm 1:4.4 at 360mm

68.2° x 53.8° at 6.5mm

2.8° x 2.1° at 180mm

37.4° x 28.5° at 13mm

1.4° x 1.1° at 360mm

72.9° x 45.1° at 6.5mm

3.1° x 1.7° at 180mm

40.5° x 23.5° at 13mm

1.5° x 0.9° at 360mm

(2.0x)

Studio Lens

7.3~161mm

14.6~322mm (2.0x)

1:1.8 at 7.3~111.5mm 1:2.6 at 161mm

1:3.6 at 14.6~223mm 1:5.2 at 322mm

62.2° x 48.7° at 7.3mm

3.1° x 2.3° at 161mm

33.5° x 25.5° at 14.6mm

1.6° x 1.2° at 322mm

66.7° x 40.6° at 7.3mm

3.4° x 1.9° at 161mm

36.4° x 21.0° at 14.6mm

1.7° x 1.0° at 322mm

(2.0x)

M.O.D. from Lens Front 0.6m (10mm with Macro) 0.6m (10mm with Macro) 0.8m (10mm with Macro)

4:3 Aspect Ratio

Object Dimensions at M.O.D.

(with Extender)

Approx. Size (WxHxL) 250.6 x 255.5 x 567mm 250.6 x 255.5 x 550mm 165 x 175 x 336mm

Approx. Mass 23.3kg (51.4lbs) 21.9kg (48.3lbs) 6.1kg (13.42lbs)

Macro Optional (Remote) Optional (Remote) Standard (Manual)

Protection Filter Optional Optional ––

Built-in Optical Image Stabilizer –– –– ––

Crossover Type –– Optional Optional

Auto Focus System

Reference: The following is the lens angle (without Shrinker) in the 4:3 mode of switchable cameras.

Angular Field of View

(with Extender)

(8.8 x 6.6mm)

16:9 Aspect Ratio

(9.6 x 5.4mm)

4:3 mode of

Most Switchable

Cameras

(7.2 x 5.4mm)

97.0 x 72.8cm at 6.5mm

3.5 x 2.6cm at 180mm

48.5 x 36.4cm at 13mm

1.8 x 1.3cm at 360mm

106.1 x 59.7cm at 6.5mm

3.8 x 2.1cm at 180mm

53.1 x 29.9cm at 13mm

1.9 x 1.1cm at 360mm



(2.0x)

97.0 x 72.8cm at 6.5mm

3.5 x 2.6cm at 180mm

48.5 x 36.4cm at 13mm

1.8 x 1.3cm at 360mm

106.1 x 59.7cm at 6.5mm

3.8 x 2.1cm at 180mm

53.1 x 29.9cm at 13mm

1.9 x 1.1cm at 360mm

–– ––

58.0° x 45.1° at 6.5mm

2.3° x 1.7° at 180mm

31.0° x 23.5° at 13mm

1.1° x 0.9° at 360mm

(2.0x)

107.8 x 80.9cm at 7.3mm

4.8 x 3.6cm at 161mm

53.9 x 40.5cm at 14.6mm

2.4 x 1.8cm at 322mm

118.1 x 66.4cm at 7.3mm

5.2 x 2.9cm at 161mm

59.1 x 33.2cm at 14.6mm

2.6 x 1.5cm at 322mm

52.5° x 40.6° at 7.3mm

2.6° x 1.9° at 161mm

27.7° x 21.0° at 14.6mm

1.3° x 1.0° at 322mm

(2.0x)

• 16

Standard

Not Applicable

• Please refer to page 10, regarding the difference between HDTV and SDTV lenses. Please note that HDTV lenses also perform excellently when they are adopted to SDTV cameras.

• M.O.D. = Minimum Object Distance

• Black colour cover lenses are also available as an alternative to the white colour lenses.

Compact Studio Lens: DIGISUPER 22 xs

165

The DIGISUPER 22 xs is a “Compact HD Studio lens” specifically designed to be used with a portable camera. Incorporating Canon’s pioneering technologies it offers superior optical performance and ease of operation, compared with both HD portable lenses and SD Studio Box Type Lenses.

High Optical Performance

The DIGISUPER 22 xs offers higher contrast and resolution compared with portable lenses and at the same time, reduces Focus Breathing to zero.

Small In Size, Light In Weight

In order to realize the best capabilities from the camera / lens combination, the lens was specifically designed to be as small and light as possible.

Dimensions

175

336.3

F.B.=48

in air

Advanced Operation

Incorporating an “Encoder Device”, it has the capability to zoom from a very fast 0.5 sec. to a very slow 5 min. while improving the precision and repeatability of zoom, focus and iris control. The encoder device also enables the lens to be easily integrated into virtual studio applications.

Diverse Functions

The DIGISUPER 22 xs is equipped with an information display, which enables diverse digital functions to be used easily and precisely.

The SUP-400 supporter for the DIGISUPER 22 xs is included as a standard component with the lens.

• 17

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