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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

new canon PL lenses?

Dan Kanes said:
When it takes 10 minutes to go from low mode handheld to studio with follow focus major money is lost because of the time it takes. 10 minutes can cost several thousand dollars. A way bigger cost than the purported "savings" created by shooting with a 5D or 7D. They do make great insert or "director/operator" cams.
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However, they are so inexpensive you can have multiple bodies preconfigured in different modes so even less time lost to reconfiguring so kind of turns that objection on its head. Image quality artifacts are where dslrs really fall short but will be interesting to see where that goes.

I suspect canon might make both cinestyle primes and offer more control of their current motorized lenses. If they don't give electronic control themselves I am sure 3rd parties will chime in soon.
 
Canon already announced "Power focus" in there new telephoto lenses. A feature to get smooth FF in movie mode. I´m sure the EF lenses will gain a lot of popularity with Epic/Scarlet S35 with the EF mount, but a Canon PL lens should be a complete new lens design. I don´t see a big necessity for "rehoused EF Lenses with PL mount".
I think, if they really would do a PL lens set, they will do it right and design them from scratch.
 
I discussed the idea of Canon making a set of 35PL primes with them years ago before RED started shipping cameras. I noted that we'd be able to sell 1000 sets of rehoused L-series primes in the first year.

And the response was that in the end it wasn't deemed a financially viable investment for a company of the scale of Canon.
 
I agree with the feedback Mitch received that rehousing L-series glass would be poor decision because these lenses are slow, mechanics are not up to cinema standards, they breathe and format is not exactly optimal (FF instead of S35). Due to those reasons rehoused L lenses would not attract premium price.

I think Canon would rather entertain high-end zoom lenses, perhaps using image stabilisation technology, to compete with Fujinon S35 glass and consistent with their EC/ENG range of products. These would be priced about $30k-$50k range, I'd guess. But, numbers may not be there unless ENG market is interested in S35 glass, which may take years or it may never happen.
 
I can definitely see Canon making some "Cine" versions of their glass, with longer focus throw, less breathing, etc. Hasn't Zeiss essentially done this with their compact primes, etc?

It's a shame that the Canon mount is so damn flimsy. With my 1D4 hanging off the back of a 600mm f/4, I can easily jiggle the camera body around. They need a sturdier way of securing the lens to the camera.
 
Michael Hastings said:
However, they are so inexpensive you can have multiple bodies preconfigured in different modes so even less time lost to reconfiguring so kind of turns that objection on its head. .
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Yes, except for when producers only want to rent Two camera bodies, and pay for one assistant with Two Operators.

Sorry for the Rantful nature of my post - but I had literally just come off a Very Large Scale (for these days) Music Video (Yes - they actually still make them!) that could have probably afforded to be shot on film, or Red but instead settled for a mediocre camera system for both A and B cameras. Of course, I took the biggest beating - being hired as the DIT who also turned into the "AC"...

I got hired because I know alot about these cameras, but had no idea of the kind of circus I was being thrown into.:nopity:
 
Yeah.. not a fan of the canon mount either tom.

And I can't see them doing PL glass for sure. Why would they produce PL mount glass when none of their cams are rigged to accept it. I don't think they would want to promote getting their own camera's modified by 3rd party companies to accept a different lens mount.

Smartest solution to better glass would be the Ziess CP's in my opinion.
 
Decades ago Canon already have won Academy Award for K-35 series lenses that were based on legendary Canon's first generation of aspherical design for Canon FD lenses.

1977 - The K-35 series of lenses for cinematography wins an Academy Award from the U.S. Academy of Motion Picture Arts and Sciences.

LINK>>

Today probably Canon decided to re-birth, re-make and re-design those K-35 lenses with PL mount.
 
I believe the k-35's will also cover FF epics and Scarlets no?
 
Pawel Achtel said:
LOL, you just can't help yourself, Mitch. :wink:
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If only the actual sales reps at Abel were as aggressive as Mitch! There's times you can't get those guys to return a call or an email.

As for the Canon lens thing, I do think Canon will make more cinema-oriented glass. I just don't see it being in PL mount form. The market for PL mount primes is becoming crowded and Canon is pushing fully into hybrid stills/motion territory. I foresee any serious pro lens offerings that may be forthcoming from them will be fully electronic and will cover FF35, while providing features that stills shooters and motion shooters alike will appreciate. Think of RED's announced FF35 electronic primes, complete with OLED lens "markings", hybrid stills/cine gears, etc.. This is where the market is headed. It's not going to S35/APS-C fully manual lenses. Plenty of those out there now anyway in just about every price range.

All just my opinion and I could be dead wrong.
 
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