Canon Field Zoom IF-1 Owner's Manual

BROADCAST TELEVISION LENS CINEMA LENS & HD PTZ CAMERAS

Towards the 100th Anniversary

It was more than 50 years ago that Canon introduced the first BCTV lens. Labeled the “Field Zoom

IF-1,” this lens featured a 6.7x zoom range, which was the highest in the industry at the time. Since

that time, Canon has energetically advanced the art of high-end optical design on many fronts in

close collaboration with international broadcasters and producers in an unceasing pursuit of product

innovation and customer satisfaction. While celebrating the 50th anniversary of servicing the broadcast

industry, Canon has been expanding its BCTV manufacturing and working diligently to develop exciting

new products for high-end imaging in the 21st century.

Table of Contents

Broadcast Television Lens & HD PTZ Cameras

Product Lineup

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Canon,s Epoch-making Technology

Studio/Field Lenses

Specifications Features; DIGISUPER Series Lenses Control Accessories Lens Mount Compatibility

Broadcast ENG/EFP Lenses

Specifications

Built-In Image Stabilizer Lens

HDgc Series ENG Lenses

Specifications

Features; Digital Drive ENG/EFP Lenses

Wireless Lens Control Box

Control Accessories

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15〜23

24〜28

29〜38

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6〜14

16 20 22 23

25 28

30 34 36 37

Pro-video Lenses & Remote Control Lenses

Specifications (Pro-video ENG Lenses)

Control Accessories (Pro-video ENG Lenses)

Specifications (Remote Control Lenses)

Control Accessories (Remote Control Lenses)

Optical Accessories for ENG

Digital Cinema Lenses

Digital Cinema Lens Series

HD PTZ Products

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39〜47

40 41 42 43

44〜47

48〜52

53〜55

Product Lineup

Throughout the over 50 years history, Canon has developped it’s know-hows and technologies to produce products that can suit various shooting situations which meets each user’s demands. The great variety of lenses as listed below are compilations of what Canon has constructed through it’s long history in the broadcast industry.

Studio / Field Lenses (2/3"

Field Lenses

Studio Lenses

DIGISUPER 100AF 9.3-930mm / F1.7-4.7 P.16 DIGISUPER 100 9.3-930mm / F1.7-4.7 P.16 DIGISUPER 95 8.6-820mm / F1.7-4.1 P.16 DIGISUPER 86AF 9.3-800mm / F1.7-4.0 P.17 DIGISUPER 80 8.8-710mm / F1.7-3.55 P.17 DIGISUPER 76 9.0-690mm / F1.7-3.45 P.17 DIGISUPER 60 xs 9-540mm / F1.7-3.0 P.17

DIGISUPER 27AF 6.5-180mm / F1.5-2.2 P.18 DIGISUPER 27 6.5-180mm / F1.5-2.2 P.18 DIGISUPER 23 xs 7-161mm / F1.6-1.95 P.18 DIGISUPER 22 xs 7.3-161mm / F1.8-2.6 P.19

Broadcast ENG/EFP Lenses

HDxs Series

SDTV Series

HJ40x14B IASD-V 14-560mm / F2.8-5.1 P.25 HJ40x10B IASD-V 10-400mm / F2.0-3.65 P.25 HJ18ex28B IASE A 28-500mm / F2.8-4.9 P.25 HJ22ex7.6B IRSE A / IASE A 7.6-168mm / F1.8-2.65 P.26 HJ21ex7.5B IASE A 7.5-158mm / F1.9-2.6 P.26 HJ18ex7.6B IRSE S / IASE A 7.6-137mm / F1.8-2.4 P.26 HJ17ex6.2B IRSE / IASE 6.2-106mm / F1.8-2.9 P.26 HJ14ex4.3B IRSE / IASE 4.3-60mm / F1.8-2.7 P.27 HJ15ex8.5B KRSE-V 8.5-128mm / F2.5-4.7 P.27

J35ex15B IASD 15-525mm / F2.7-4.7 P.27 J35ex11B IASD 11-385mm / F2.0-3.4 P.27

)

P.16

(2/3")

P.25

Understanding The Lens Model Names

Image Size

(ENG/EFP Lens)

HJ 40x 10 B I A S D -V

1 2 3 4 5 6 7 8 9

100x 9.3 B IE -D

(Studio / Field Lens)

Focal Length at Wide-End

Optical Compensation for Prism Cameras

with Optical Compensation (not Shown with 1/2" models)

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

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

Iris Control

S Iris Servo L Iris Manual

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)

High Definition Portable Lens for 1/2" (HDgc Series)

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)

Zoom Ratio

Special Function (1)

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

Analog Servo Drive for Portable Lens

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

HDgc Series ENG Lenses P.30

2/3"

1/2"

1/3"

(With 2.0x Ext) KJ22ex7.6B IRSE / IASE 7.6-168mm / F1.8-2.6 P.30

KJ17ex7.7B IRSE / IASE 7.7-131mm / F1.8-2.3 P.30 KJ10ex4.5B IRSE A / IASE A 4.5-45mm / F1.8-2.35 P.30 KJ20x8.2B IRSD 8.2-164mm / F1.9-2.7 P.32

(Without Ext) KJ20x8.2B KRSD 8.2-164mm / F1.9-2.7 P.32

KJ13x6B KRSD 6-78mm / F2.0-2.7 P.32

(With 2.0x Ext) KH21ex5.7 IRSE 5.7-120mm / F1.4-1.95 P.31

KH16ex5.7 IRSE 5.7-92mm / F1.4-1.8 P.31 KH10ex3.6 IRSE 3.6-36mm / F1.45-1.9 P.31

(Without Ext) KH20x6.4 KRSD SY14 6.4-128mm / F1.4-2.0 P.33

KH13x4.5 KRSD SY14 4.5-59mm / F1.5-2.0 P.33

(With 2.0x Ext) KT17ex4.3B IRSE 4.3-73mm / F1.4 P.31 (Without Ext) KT20x5B KRSD A 5-100mm / F1.4-1.55 P.33

Pro-Video ENG Lenses & Remote Control Lenses P.40

2/3"

YJ20x8.5B KRS / IRS 8.5-170mm / F1.8-2.7 P.40 YJ13x6B KRS / IRS 6-78mm / F2.0-2.7 P.40

Digital Cinema Lenses P.50

Zoom

(PL / EF)

CINE-SERVO

Prime

(PL /EF)

(EF only)

CN-E14.5-60mm T2.6 L S / SP 14.5-60mm / T2.6 P.50 CN-E30-300mm T2.95-3.7 L S / SP CN-E15.5-47mm T2.8 L S / SP 15.5-47mm / T2.8 CN-E30-105mm T2.8 L S / SP 30-105mm / T2.8 CN-E14mm T3.1 L F 14mm / T3.1 CN-E24mm T1.5 L F 24mm / T1.5 CN-E 35mm T1.5 L F 35mm / T1.5 CN-E50mm T1.3 L F 50mm / T1.3 CN-E85mm T1.3 L F 85mm / T1.3 CN-E135mm T2.2 L F 135mm / T2.2 CINE-SERVO CN7x17 KAS 17-120mm / T2.95-3.9 P.51

30-300mm / T2.95-3.7 P.50

P.50 P.50 P.50 P.50 P.50 P.50 P.50 P.50

High Definition PTZ Products P.55

BU-47H Pan: 340° Tilt: + 30°~-50° P.55 EVERCAM XU-81 Pan: ±180° Tilt: +220°~-40° P.55 EVERCAM XU-81W Pan: ±180° Tilt: +220°~-40° P.55

Control Accessories For Studio / Field Lenses P.22 For ENG / EFP Lenses P.37 For Pro-Video Lenses P.41 Optical Accessories P.44

Canon’s Epoch-making Technology

Auto Focus Technology

Canon continues to be a pioneer in the design of broadcast lenses with the introduction of a revolutionary HDTV Auto Focus System.

e-IFxs, HDxs and HDgc Technology

In 2004, Canon introduced a new broadcast lens technology, e-IFxs, by launching the J22ex7.6B.

New Ergonomic Drive Unit

With the launch of the HJ14ex4.3B, Canon introduced a totally new design of the digital drive unit.

HDgc Series

Canon has added a new series to its HDTV lens lineup, the HDgc series.

Special Optical Elements and The Best Optical Layout

Canon has always made an effort to research special elements since our beginnings in this industry with the goal of minimizing chromatic aberration.

Internal Focusing System/Ergonomic Lens Design

Canon was the first manufacturer to apply Internal Focus technology for use in high quality broadcast ENG/EFP zoom lenses.

Digital Technology

In 1995, Canon introduced digital technology for broadcast zoom lens control to the television industry thus opening up new possibilities for the future.

Deployment of Longer, Wider, More Sensitive Lens Series

Canon previously released several lenses in succession, the J13x9BII in the early 80’s, the J18x9B in 1984 and the J8x6B in 1986.

P. 7

P. 8

P. 9

P. 1 0

P. 1 1

Wireless Control Solution

Canon offers a new wireless system as an alternative to the cumbersome control cabling that is often required between the lens controllers and the lens-camera systems.

Optical Image Stabilizer

Canon introduces an important new HD production portable lens, the HJ15ex8.5B KRSE-V.

The Latest HDTV Lens Series

Canon began developing lenses for the “HDTV System” more than 20 years ago.

Canon 3D Solution

Canon has realized to adopt the standard BCTV Zoom Lenses to the 3D system by adding very few items that enables to construct a 3D production system at minimum cost.

P. 1 1

P. 1 2

P. 1 3

P. 1 4

Customer Satisfaction

Canon is committed to total C.S. (Customer Satisfaction). In order to optimize C.S., our aim is to support users by developing of new lens technologies, high-quality technical service systems, and other sales support.

CANON’S WORLDWIDE SUPPORT NETWORK

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

Sensor Output

Focusing Group

Front Relay

Pupil

Variator

Beam Splitting Prism

Internal Extender/

Back Relay

CCD

Compensator

Prism

Canon

Original

Sensor

Auto Focus Technology

DIGISUPER 100AF

This article refers to Auto Focus Technology for DIGISUPER HDTV Zoom Lenses employed in the listed lenses. The specication of the listed lenses are shown in page 16, 17 and 18.

DIGISUPER 86AF DIGISUPER 27AF

Recently there has been a greater demand for broadcast HDTV production and the requirement for accuracy in focusing has risen in response to this demand. Canon has been and continues to be a pioneer in the design of broadcast lenses and meets this demand with the introduction of a revolutionary HDTV Auto Focus System. This technology assists professional camera operators in concentrating on the action/ beauty shots while maintaining the images in focus. Canon’s advanced Auto Focusing for the DIGISUPER HDTV Zoom Lens employs the TTL-Secondary Image

Registration Phase-detection system, originally developed for single-lens reﬂex still

cameras, in order to pursue both high accuracy and a high tracking capability for broadcast HDTV.

TTL-Secondary Image Registration Phase-detection System

The light transmitting through a pair of the secondary imaging

lenses focuses on separate sensors. The following ﬁgure

illustrates this state of focusing. The TTL-Secondary Image Registration Phase-detection System determines the positional

relationship between the two images (Refer to “d” in ﬁgure) to

detect the amount and direction of defocusing.

In-focus

Forward focus

Rear focus

DIGISUPER 100AF

DIGISUPER 86AF

Secondary Imaging Lens

Image Plane

Field Lens

Line Sensor

DIGISUPER 27AF

Sensor Output

Sensor A Sensor B

Correct spacing between

double images

Narrow spacing between

double images

Wide spacing between

double images

Canon’s Epoch-making Technologies

Layout of the elements

Features

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 VF

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 camera

manufacturer of choice The AF system’s two operation modes is the answer to a professional camera operator’s various demands.

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

Usually off. Activated while the SW is pushed.

is pushed.

Changeable AF frame

Recommended Application

Sporting event etc. To follow a moving object.

Studio production etc. To conﬁrm the best focus position.

e-IFxs, HDxs and HDgc Technology

In 2004, Canon introduced a new broadcast lens technology, , by launching the J22ex7.6B.

The technology consists of two applicable meanings for the letter “e”. One is the “ecological design”, as these lenses are

harmless to the environment. The other is the “enhanced digital” technology, which improves the performance of the digital drive

unit. Also, all of these advantages are inherited to the (IRSE / IASE model) and the lenses.

Enhanced Digital Drive

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

with an information display and a digital function selector, an X-Y axis switch,

so that the user can customize the enhanced digital functions much more easily and

precisely. The new design enables the user to fully bring out the digital functions.

User settings are both simple and easy to operate. User settings included:

speed preset, frame presets (now 2 memory positions), shuttle shot, zoom track,

new focus preset with IASD/IASE lens.

Follow signal display for iris, zoom and focus (IASD/IASE only) for virtual

reality, robotic control and other uses. User settings for zoom and focus curve mode for precise control based upon

the user’s requirement. AUX 1 and AUX 2 switches can be assigned for basic functions giving enhanced memory capability. A precise movement mode can be memorized for the zoom seesaw control, zoom demand control and preset control. The drive unit can memorize 9 patterns of user-customized settings and also transmit the data between different drive units. The self diagnostic mode provides error message, if necessary.

Information Display

Rotary Encoder

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

which are equipped with an enhanced digital drive unit. Conventional

potentiometers are analog positional sensors capable of only 8-10 bit equivalent

resolution. Thus virtual ENG studio systems called for an optional Encoder Unit to

be put on the zoom and focus ring of the lens. With the introduction of 16 bit

resolution Rotary Encoder Devices built into the new enhanced digital drive unit,

the lens can simply be integrated into a virtual digital studio system without any

additions. The encoders also enable superior precise control. The zoom servo

provides a dynamic range of 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 made the Encoder Device surprisingly small to be installed in the

existing drive unit without changes in size or weight.

Ecological Design

It is Canon’s policy to not pollute the Earth and, through research, we are quickly

reducing our impact on the environment even further.

The / / series have avoided using any materials or

substances that could pollute the environment.

The optical parts, featuring lead free glass, are designed to be completely non-

polluting and the mechanical parts are virtually free of all harmful products to the

earth, such as cadmium, PBBS*, PBDPE* or mercury.

*PBBS:Poly Bromo Bi Phenyls *PBDPE:Poly Bromo Di Phenyl Ethers

Lens with the Optional

Encoder Unit

Lens with Encoder

Device included in the

Drive Unit

Lead Free Glass

HDgc

New Ergonomic Drive Unit

With the launch of the HJ14ex4.3B, Canon introduced a totally new design of

the digital drive unit. Reﬁned by long-term market research and worldwide

experience, Canon mobilized the latest in 3D CAD-CAM design to

signiﬁcantly improve the human tactile interface to the control of zoom, iris,

and focus. Here are some results of Canon’s research:

Reduced Physical Stress

By reducing the width of the drive unit, the palm of the camera operator

hand is positioned closer to the optical axis, thus reducing the degree of arm

bend which in turn lessens physical stress during prolonged shooting.

Ergonomic Design

The size and curvature size have been optimized to more comfortably ﬁt in

the palm of the operator

’s hand (a). Newly developed coatings improve the

tactile interface between the user and the drive unit (b) together with the new Rubber Grip Support (c).

Improved Ease of Operation

The spacing between the focus ring and drive unit has been changed to avoid accidental interference with the drive unit while manipulating the focus control.

’s

Canon’s Epoch-making Technologies

HDgc Series

The details of the HDgc Series Lenses are shown on Page 29-33.

Concept of the HDgc Series

Corresponding to the popularity of digital High Deﬁnition broadcasting and diversity of HDTV

equipment, Canon has added a new series to its HDTV lens lineup, the HDgc series. The new HDgc series supports the emergence of an important new generation of cost-effective HD acquisition systems. Adopting the advantages created by Canon’s unique technology, the new

HDgc lenses exhibit high MTF, high resolution and high contrast from the center of the image to its extreme edges, meanwhile maintaining its compact size and weight.

Compared to the SDTV Lenses, the HDgc Series are...

In the HDTV system the pixel size is about half. Therefore, the spread of a point image caused by a spherical aberration, coma etc. should 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 1. The HDgc Lenses are specially designed to use

optical elements that are effective in further minimizing chromatic aberrations, such as “Hi UD Glass”, “Aspherical Elements” and other special elements. The HDgc lenses greatly contribute to correcting and minimizing these aberrations at the same time maintaining high

MTF throughout the edge of the picture.

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. The HDgc lenses are designed to meet the speciﬁc bandwidth frequency (or the number of scanning lines) of these new HD camera systems and at the same time to offer an excellent performance-cost optimization.

100

90 80 70 60 50 40

MTF(%)

30 20 10

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

0.02

0.01

Defocus(mm)

Graph 1

0.01

F1.6

0.02

Test Frequency of Broadcast Camera

Test Frequency of Broadcast Lens

Actual Canon Resolution of Broadcast Lens

320TV Lines / 4MHz

24Lines / mm

up to 75Lines / mm

up to 640TV Lines / 8MHz

up to 48Lines / mm

up to 800TV Lines

up to 74Lines / mm

up to 100Lines / mm

Special Optical Elements and The Best Optical Layout (X-Element and The Power Optical System)

The XS-series lenses are shown with either of these legends on page 16-19 and 25-27.

Hi-UD Glass

Green Ring

Canon has always made an effort to research special elements since our beginnings in this industry

with the goal of minimizing chromatic aberration. These efforts have included an artiﬁcially re-crystalized “Fluorite”, with extraordinary dispersion characteristics and the newly developed “Hi-UD” (high index ultra low dispersion) glass. Canon has succeeded in the practical use of special

elements along with advanced design techniques like “separate achromatism”. Canon TV zoom lenses carry a “Green Ring” on the focus barrel, a symbol of our high quality. Canon has developed a breakthrough in optical design technology known as the “Power Optical

System” whose heart is the “X-Element”. By using the “X-Element” to its maximum power in the specially designed optical layout, higher speciﬁcations and quality can be achieved in smaller and

lighter lenses. The lenses designed using the “Power Optical System” are known as the “XS-series”.

Internal Focusing System/Ergonomic Lens Design

Canon was the ﬁrst manufacturer to apply IF (Internal Focus) technology for use in high quality broadcast ENG/EFP zoom lenses, ﬁrst with the J8x6B wide-angle zoom lens and then with the world’s bestseller, the J14x8.5B standard lens. The advantages include lower

distortion, minimized chromatic aberration and strong protection from dust and condensation in a compact and lightweight package. At the same time, we created ease of operation with

the introduction of a ﬁxed front element, square hood and an ergonomic grip angled at 12.5˚ . Since those ﬁrst IF lenses, Canon has developed a complete series of IF zoom lenses. The original IF technology evolved into the IF+ (plus) series and then into the IFxs series. Simultaneously, the High Deﬁnition lens series, HDxs, and the Pro-video lens series, IFpro were developed. We now offer the e-IFxs/e-HDxs series, as well as with the HDxs and HDgc

series.

Digital Technology

The Studio/Field lenses with the “DIGISUPER” system are shown with this legend on page 16-19. Also the unique features are explained on page 20 and 21.

The broadcast ENG/EFP lenses with the Digital System are shown

/ //

In 1995, Canon released the DIGISUPER 70 for Studio/Field applications and

at the same time introduced digital technology for broadcast zoom lens control

to the television industry thus opening up new possibilities for the future.

Digital control technology offered improvements by more precise control of

lens groups, personalized lens control and the ability to interface with other

digital devices. Since then, digital technology has experienced a big evolution

and today, Canon offers the most advanced second generation DIGISUPER

lens series and the newly developed zoom/focus demands.

Canon’s newest advancement in digital technology,

“enhanced e-IFxs/e-HDxs”, features have been applied to the HDxs/e-IFxs/

HDgc (IRSE / IASE model) series of ENG/EFP zoom lenses, while “Digital

Drive” continues to be used on other models. With HDxs/e-IFxs/HDgc

(IRSE / IASE model) and “Digital Drive”, the lens servo unit is now digital

and offers such unique new “Useful” features as: Shuttle Shot, Speed Preset and

Frame Preset.

with this legend on page 25-27. Also the unique features are explained on page 34 and 35.

1010

Deployment of Longer, Wider, More Sensitive Lens Series

Canon previously released several lenses in succession, the J13x9BII in the early 80’s, which became the world’s standard ENG/EFP lens, the J18x9B in 1984 and in 1985, the J8x6B. These lenses became the ﬁrst example of what is today the standard series of

ENG/EFP lenses composed of a Telephoto, Standard and Wide zoom lens. With the current SDTV series as well as with the HDTV series, Canon has developed longer, wider and

more sensitive lenses that are approximately the same size and weight as the very ﬁrst series with vastly improved speciﬁcations. In Studio/Field category lenses, Canon developed the ﬁrst 40x high zoom ratio lens in

1982 and since then has cleared hurdle after hurdle, breaking new ground by introducing

the world’s ﬁrst 50x and world’s ﬁrst 70x lenses. Then, we introduced our highest achievement to date, the DIGISUPER 86 xs and DIGISUPER 86 TELE xs, the world’s ﬁrst lens in the 80x range. Typical of Canon, this lens has solved the problem of image shake that would have limited the 86x zoom ratio

with our unique built-in “Optical Image Stabilizer”.

Amazingly, the 86x exhibits improved speciﬁcations and employs the “Optical Image

Stabilizer” in a package the same size and weight as previous lenses.

In 2002, Canon proudly introduced the world’s ﬁrst triple digit zoom lens, the DIGISUPER

100, with “Optical Image Stabilizer” and a 100 times zoom ratio. Our goal at Canon is to pursue our philosophy with unique ideas and the most advanced

technologies thus allowing us to contribute to the expansion of our ever-changing industry.

DIGISUPER 100

Launched in 2002

DIGISUPER 70

(The ﬁrst lens in the 70x range was

launched in 1995.)

SUPER 55

(The ﬁrst lens in the 50x range was

launched in 1987.)

Canon’s Epoch-making Technologies

PV40x13.5B

Launched in 1982

Wireless Control Solution

Canon offers a new wireless system as an alternative to the cumbersome control cabling that is often required between the lens controllers and the lens-camera systems. This consists of a Transmitter Unit that is connected to the lens controllers, and a Receiver Unit that is mounted close to, and is connected to, the lens drive unit. These two units can be separated by up to ten meters distance, and the wireless connection between them provides precisely the same degree and quality of controllability as afforded by the cabling system they replace.

Application Examples

Easy set-up of lens-camera control system Facilitates easy transfer between shouldermount shooting and tripod use

Considerably simpliﬁes control of lens-

cameras on jib-arm or crane Allows remote control when camera operator is denied entry Easy construction of lens-camera control system in complicated environments

The Transmitter/Receiver Box can only be used in limited countries due to restrictions of Radio Law. Please ask a Canon office for the availability.

Please see P.36 for further information.

Easy transfer between shoulder-mount shooting and tripod use

Simpliﬁes control of lens-cameras on jib-arm or crane Remote control when camera operator is denied entry

Easy construction of control system in complicated environments

Optical Image Stabilizer

The products with the “Optical Image Stabilizer” technologies are shown with this legend on page 16, 17, 25, 27 and 28.

Employment of Vari-angle Prism Image Stabilizer (VAP-IS)

Canon introduces an important new HD production portable lens, the HJ15ex8.5B KRSE-V. This lens incorporates an innovation intended to signiﬁcantly enhance HD motion imaging on

location shoots of many forms. The lens has a built-in optical image stabilization system that

employs Canon’s patented Vari-Angle Prism Image Stabilizer (VAP-IS). Canon’s IS technology has been dramatically improved since it’s earlier deployment in a standard deﬁnition lens, and

produces highly stable HD imagery when the lens-camera system is subjected to a wide range of disturbance frequencies encountered in many shooting environments. These can range from very low frequencies in handheld or shoulder-mount shooting by a walking or running camera operator, to higher vibration frequencies associated with operation on motorbikes, moving vehicles, and helicopters. Various stabilization modes of operation are selectable to address diverse shooting operations.

Another Epoch-making Technology; Optical Shift Image Stabilizer (Shift-IS)

The history of ﬁeld lenses is a history of zoom ratio/focal length extension. It came to a point

where the industry thought it would be impossible to push the envelope any further. The telephoto focal lengths of the lens got so long that even the slightest amount of wind or operator movement would cause image shake and viewing the picture became intolerable, this was before

Canon announced the incredible magniﬁcation DIGISUPER 86 xs zoom lens. Canon, renowned

for its optical image stabilization technologies, developed another new stabilization solution

for the broadcast ﬁeld lens, a built-in Optical Shift Image Stabilizer (Shift-IS) to overcome

image shaking at telephoto focal length. Now the Shift-IS is employed in the DIGISUPER 100,

DIGISUPER 100AF, DIGISUPER 95, DIGISUPER 86AF, DIGISUPER 80, HJ40x10B IASD-V and HJ40x14B IASD-V.

P.28

HJ15ex8.5B KRSE-V

P.16

DIGISUPER 100AF DIGISUPER 100 DIGISUPER 95

P.17

DIGISUPER 86AF DIGISUPER 80

P.25

HJ40x10B IASD-V HJ40x14B IASD-V

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

When the lens moves, the light rays from the subject are bent relative to the optical axis, resulting in an unsteady image because the light rays are deflected. 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. Then the actuator moves the IS lens group horizontally and vertically thus counteracting the image shake and maintaining the stable picture. The Shift-IS component is located within the lens group and is most effective for lower frequency movements caused by platform vibration or wind effect without increasing the overall size and weight of the master lens.

1212

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

The Latest HDTV Lens Series

6.6

MTF(%)

Canon began developing lenses for the “HDTV System” more than 20 years ago. Canon was the ﬁrst manufacturer to complete a standard series consisting of ﬁve basic models of practical 2/3” HDTV lenses by launching the HJ15x8B (in

1997) in addition to four existing lenses: Standard, Tele and Wide portable, as well as Studio/Field. Canon continues to lead the broadcast industry into the 21st century “DTV” era with the next generation of lens families, consisting of the

following four HDTV Lens Series:

HDxs Series

Shown on Page 16-19, and 25.

Portable HDxs Series

Shown on Page 25-27.

HDgc Series

Shown on Page 30-33.

Studio/Field Lenses

ENG/EFP Lenses

ENG Lenses for 2/3" Cameras ENG Lenses for 1/2" Cameras ENG Lenses for 1/3" Cameras

Compact Studio Lens

Built-in Optical Image Stabilizer Lens

EFP Lenses

Canon’s Epoch-making Technologies

Overall Comparison Between the SDTV

and the HDTV System

Whereas one frame of the conventional SDTV (ie NTSC) system

consists of 480 scanning lines, the number of scanning lines is

more than 1.5 times that for the HDTV system. Furthermore the

density of the scanning lines are even higher because the HDTV

system has an aspect ratio of 16:9, which is wider and shorter

in height than that of the normal SDTV (4:3 aspect ratio) system.

The spatial frequency required for the HDTV system is about

twice that required for the NTSC system.

Overall, the resolution of the HDTV system is about twice that of

the NTSC system and therefore, the lens requires much higher

performance than the conventional lenses.

Depth of Field for HDTV System

As the HDTV system has high resolution, even a small out-of-

focus area can be detected. Since the radius of the permissible

circle of confusion is about half that of the conventional system,

the depth of field becomes proportionately smaller. Therefore, the

focusing has to be done with great care.

Sensitivity of the HDTV System

Two factors have to be considered to compare the sensitivity of the HDTV

HDTV

16:9

system with that of the conventional system. The first factor is that the HD camera has an aspect ratio of

5.4

16:9. This makes the sensitive area smaller and causes a 10% difference in sensitivity. The second factor is related to the HDTV system’s depth of field, which is half of the conventional system. Therefore, on HD cameras, the lenses must be stopped down until their F-number becomes double in order to get the same depth of field as that in the conventional system. This reduces the sensitivity to one fourth (1/4).

NTSC/PAL

4:3

ø11

8.8

9.6

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. should be diminished to about 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. HDxs greatly contributes to correcting and minimizing these aberrations in a compact lightweight lens body.

100

90 80 70 60 50 40 30

NTSC 400TVL(30lp/mm)

HDTV 600TVL(55lp/mm)

0.02 Defocus(mm)

0.01

F1.6

0.01

0.02

Canon 3D Solution

Recognizing the importance of 3D program origination, Canon gave priority to adoption of most of the

standard HD lens series for 3D production systems. This entailed use of Canon’s original 16bit resolution

encoders, while at the same time allowing off sets of zoom, focus and iris positions to compensate the tracking of each positions. Canon is now introducing a new solution to construct a simpler 3D production system with increased interoperability at a low cost.

3D Lens Lineups

A pioneer in the development of Digital Drive Units for its portable lenses, Canon’s new 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. The unique device allows for one zoom controller and one focus controller to simultaneously operate both lenses while providing even higher interoperability and precision in synchronization of zoom, focus and iris positions of the lens pairs.

HJ14ex4.3B IASE

HJ21ex7.5B IASE A HJ18ex28B IASE A

HJ17ex6.2B IASE

HJ22ex7.6B IASE A

KJ22ex7.6B IASE

Lens Refinements for 3D

3D Lens Adjustment Software

3D Bridge Cable

To Left Lens

To Right Lens

System Configuration

Left/Right Lenses

20pin

3D Bridge Cable

20pin

KJ10ex4.5B IASE A KJ17ex7.7B IASE

The “3D Lens Adjustment Software” is intended to make stereoscopic tracking of the zoom, focus and iris even more precise, and allow 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 (zoom:3points, focus:2points, iris:2points).

Another attraction of Canon’s synchronous lens control system is that the system doesn’t require special controllers. If the lens is installed with the 3D Lens Adjustment Software, all the servo controllers for digital servo lenses as shown below will be compatible by connecting the two

lenses with the simple 3D Bridge Cable (BC-100), which should save

additional costs when implementing 3D production systems.

Zoom / Focus Demands

• ZSD-300D • ZDJ-D02*

• ZDJ-P01*

• FPD-400D • FDJ-D02*

• FDJ-P01*

*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).

1414

STUDIO/FIELD LENSES

Horizontal Field of View (16:9)

Focal Length (mm)

XJ22x7.3B

Studio Lens

Field Lens

Please refer to page 13 regarding the difference between HDTV and SDTV lenses. Please note that the HDTV lenses perform excellently when they are used on SDTV cameras.

The DIGISUPER series lenses are controlled by Canon’s ground breaking Digital Servo System (refer to page 20-22).

The DIGISUPER 22 xs is a studio lens based on a new concept to be used with portable cameras. Please refer to page 19 for

the specification.

XJ23x7B

XJ27x6.5B

XJ27x6.5B AF

XJ60x9B

XJ76x9B

XJ80x8.8B

XJ86x9.3B AF

XJ95x8.6B

XJ100x9.3B

XJ100x9.3B AF

72.9˚ 68.8˚ 1.02˚ 0.69˚0.67˚ 0.59˚3.4˚54.6˚56.1˚58.3˚66.7˚

6.5 7 540 800820 9301619.398.67.3

Compact Studio Lens

Affordable Studio Lens

Wide Angle Studio Lens

Wide Angle Studio Lens With Advaced 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

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

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 (8.8x6.6mm)

Angular Field of View

(with Extender)

16:9 Aspect Ratio (9.6x5.4mm)

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

4:3 Aspect Ratio (8.8x6.6mm)

Object Dimensions at M.O.D.

(with Extender)

16:9 Aspect Ratio (9.6x5.4mm)

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°x39.1° at 9.3mm

0.54°x0.41° at 930mm

26.6°x20.1° at 18.6mm

0.27°x0.20° at 1860mm

54.6°x32.4° at 9.3mm

0.59°x0.33° at 930mm

28.9°x16.5° at 18.6mm

0.30°x0.17° at 1860mm

253.9x190.4cm at 9.3mm

2.54x1.90cm at 930mm

127.0x95.2cm at 18.6mm

1.27x0.95cm at 1860mm

276.4x155.5cm at 9.3mm

2.76x1.56cm at 930mm

138.2x77.8cm at 18.6mm

1.38x0.78cm 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°x39.1° at 9.3mm

0.54°x0.41° at 930mm

26.6°x20.1° at 18.6mm

0.27°x0.20° at 1860mm

54.6°x32.4° at 9.3mm

0.59°x0.33° at 930mm

28.9°x16.5° at 18.6mm

0.30°x0.17° at 1860mm

253.9x190.4cm at 9.3mm

2.54x1.90cm at 930mm

127.0x95.2cm at 18.6mm

1.27x0.95cm at 1860mm

276.4x155.5cm at 9.3mm

2.76x1.56cm at 930mm

138.2x77.8cm at 18.6mm

1.38x0.78cm 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°x42.0° at 8.6mm

0.61°x0.46° at 820mm

28.7°x21.7° at 17.2mm

0.31°x0.23° at 1640mm

58.3°x34.9° at 8.6mm

0.67°x0.38° at 820mm

31.2°x17.8° at 17.2mm

0.34°x0.19° at 1640mm

274.1x205.6cm at 8.6mm

3.0x2.3cm at 820mm

137.1x102.8cm at 17.2mm

1.5x1.2cm at 1640mm

298.1x167.7cm at 8.6mm

3.2x1.8cm at 820mm

149.1x83.9cm at 17.2mm

1.6x0.9cm at 1640mm

(2.0x)

Approx.Size (WxHxL) 250.6x255.5x661.5mm 250.6x255.5x610mm 250.6x255.5x610mm 250.6x255.5x661.5mm 250.6x255.5x610mm 250.6x255.5x610mm 250.6x255.5x547.8mm

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 Standard Standard Option Standard Option Option Option

Built-in Optical Image Stabilizer

Crossover Type –– –– –– –– –– –– Option

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)

•Please refer to page 13, 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 color cover lenses are also available as an alternative to the white color lenses.

4:3 mode of Most Switchable Cameras (7.2x5.4mm)

○ ○ ○ ○ ○

○

–– ––

86x 80x 76x 60x

Studio/Field Lenses

9.3~800mm

18.6~1600mm (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°x39.1° at 9.3mm

0.63°x0.47° at 800mm

26.6°x20.1° at 18.6mm

0.32°x0.24° at 1600mm

54.6°x32.4° at 9.3mm

0.69°x0.39° at 800mm

28.9°x16.5° at 18.6mm

0.34°x0.19° at 1600mm

253.9x190.4cm at 9.3mm

2.8x2.1cm at 800mm

127.0x95.2cm at 18.6mm

3.2x1.8cm at 800mm

276.4x155.5cm at 9.3mm

3.2x1.8cm at 800mm

138.2x77.8cm at 18.6mm

1.6x0.9cm at 1600mm

(2.0x)

8.8~710mm

17.6~1420mm (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°x41.1° at 8.8mm

0.71°x0.53° at 710mm

28.1°x21.2° at 17.6mm

0.36°x0.27° at 1420mm

57.2°x34.1° at 8.8mm

0.77°x0.44° at 710mm

30.5°x17.4° at 17.6mm

0.39°x0.22° at 1420mm

266.8x200.1cm at 8.8mm

3.4x2.6cm at 710mm

133.4x100.1cm at 17.6mm

1.7x1.3cm at 1420mm

290.0x163.1cm at 8.8mm

3.7x2.1cm at 710mm

145.0x81.6cm at 17.6mm

1.9x1.1cm at 1420mm

(2.0x)

9~690mm

18~1380mm (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°x40.3° at 9mm

0.73°x0.55° at 690mm

27.5°x20.8° at 18mm

0.37°x0.27° at 1380mm

56.1°x33.4° at 9mm

0.80°x0.45° at 690mm

29.9°x17.1° at 18mm

0.40°x0.22° at 1380mm

259.9x194.9cm at 9mm

3.5x2.6cm at 690mm

130.0x97.5cm at 18mm

1.8x1.3cm at 1380mm

282.4x158.9cm at 9mm

3.8x2.1cm at 690mm

141.2x79.5cm at 18mm

1.9x1.1cm at 1380mm

(2.0x)

9~540mm

18~1080mm (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°x40.3° at 9mm

0.93°x0.70° at 540mm

27.5°x20.8° at 18mm

0.47°x0.35° at 1080mm

56.1°x33.4° at 9mm

1.02°x0.57° at 540mm

29.9°x17.1° at 18mm

0.51°x0.29° at 1080mm

243.8x182.9cm at 9mm

4.1x3.1cm at 540mm

121.9x91.5cm at 18mm

2.1x1.6cm at 1080mm

265.1x149.1cm at 9mm

4.5x2.5cm at 540mm

132.6x74.6cm at 18mm

2.3x1.3cm at 1080mm

(2.0x)

–– ––

○

–– –– ––

43.6°x33.4° at 9mm

0.76°x0.57° at 9mm

22.6°x17.1° at 18mm

0.38°x0.29° at 1080mm

(2.0x)

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