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CINEMA EOS LENSES
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I read on a recent cinematographer’s website a comment that the lens is the “brush” that paints an image on the “canvas” of the image sensor in the digital camera. This picturesque metaphor actually captures a reality not often understood. The cine lens is tasked with intercepting a significant amount of three-dimensional scene information in the form of optical wavefronts impinging on the lens faceplate and transforming these into a tiny two-dimensional optical representation that is then projected onto the camera image sensor.
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CINEMA EOS LENSES
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Figure 4 Showing the principle of the computer simulation system used to design the spectral responses of a cinema lens that was optimized for the Canon Super 35mm 4K CMOS image sensor The Color Contribution Index (CCI)
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CINEMA EOS LENSES
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The optical designers spent a great deal of time using powerful computer simulation techniques to support a quest to maximize the cine zoom lens MTF according to the principles described. For the wide-angle CN-E14.5 –60mm T2.6 lens the final simulation showed that a quite tight control of lens MTF could be maintained from picture center to the limits of the Middle Zone. Further, this could also be tightly controlled over the full 4.1x zoom range of the lens.
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4k LENS
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The former is the most difficult to contend with in optical design and is a consequence of each wavelength of light having a different magnification. The image sensor in the camera can read this as misregistration between the various wavelengths which can cause color fringing on image transitions, and when added to the four monochromatic aberrations, this constitutes what are collectively called the aggregate defocusing distortions that impair lens MTF – especially at the wider aperture settings (shown for a hypothetical 4K lens in Figure 11).
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