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CINEMA EOS LENSES
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Studying how each of these lenses convoluted with the Canon CMOS image sensor and allied Canon CFA helped establish overall color reproduction benchmarks that guided the subsequent exploration of the new Canon cinema lens spectral response. Video processing – in the form of the digital linear matricing system – was also optimized. The judgment of color balance was made by Canon color scientists in concert with invited directors of photography studying the simulated imagery.
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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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EF17-40mm f/4L USM Specifications
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Specifications for the EF 17-40 f/4L USM The EF17-40mm f/4L USM utilizes a combination of one high-precision molded glass aspherical lens and two replica aspherical lenses to achieve the extended zoom range, while also correcting for a variety of aberrations that arise during zooming. Moreover, a Super UD (ultra-low dispersion) glass element minimizes the chromatic aberration of magnification that tends to occur with wide-angle lenses, eliminating color bleed along the edges of the subject and realizing high image contrast and resolution.
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White Paper - Personality of the Canon Cinema EOS Lens: Color Reproduction
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Canon Sumire Prime Demo Reel
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Cinematographer Matt Porwoll shows off the beautiful look of Canon's new Sumire Prime lenses in this demo footage. The seven new lenses in the Sumire (pronounced 'Soo-mee-ray') Prime series provide smooth skin tones, gentle focus fall-off and the same warm color science consistent with all Canon cinema lenses.
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EF : How to unload a roll of film.
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Avoid direct sunlight when unloading the film Keep your exposed cartridges in a cool dray and shady place and have them processed as soon as possible Do not leave the same roll of film in your camera for months on end, since black and white film may become fogged and color film may experience a definite color -shift
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CINEMA EOS LENSES
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1. Constant Optical Speed between lenses (if possible) 2. Constant Color Reproduction (precise color matching) 3. Constant Sharpness (and higher sharpness than traditional zooms) 4. Minimum Flare and Ghosting A very specific design goal for the Cinema EOS cine zoom lenses was to achieve an overall optical performance that would equate with the best of contemporary prime lenses and to maintain that performance over their respective focal lengths. Achieving these goals imparts an unusual element to the performance “personality” of these lenses.
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Using drop-in filters on the EF 600mm f/4L IS III USM lens
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Drop-In Filters The 52/52(WII)-series drop-in filters can also be used. However, their exterior color is different than the lens body.
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Using drop-in filters on the EF 400mm f/2.8L IS III USM lens
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Drop-In Filters The 52/52(WII)-series drop-in filters can also be used. However, their exterior color is different than the lens body.
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EF-S60mm f/2.8 Macro USM Specifications
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EF-S60mm f/2.8 Macro USM As a result, users need not worry about the front of the lens touching the subject when shooting macro photos. The EF-S60mm f/2.8 Macro USM's lens element positioning and lens coating have been optimized to ensure excellent color balance while minimizing the flare and ghosting that can easily occur when the lens is used with a digital camera.
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