Canon UHD DIGISUPER 86 产品宣传册

 

                                   

Within  the  recent  new movement in 2/3-inch 4K UHD cameras, Canon closely collaborated with the 

respective camera manufacturers to define the technical  parameters  of lenses required  to  meet  the 

elevated imaging performance  and operational requirements for television program production in that 

much higher resolution format.  While it is anticipated that broadcast television production will continue to 

be largely in HDTV for many years to come,  it is now clear that  4K UHDTV will also steadily grow in 

parallel.  Investment in new 4K 2/3-inch  lenses that anticipate this future trend will have the additional 

advantage of enhancing the image performance of existing HDTV cameras. 

 

             

At this juncture it is apparent that outside broadcast television production is the spearhead of the still slow 

adoption of 4K UHD.  Just looking across the first half of 2015 conveys a sense of the growing interest:  

major US sporting events included 4K coverage; a 4K UHD Mobile Facility made its debut at NAB; both 

Australia and New Zealand covered major cricket matches. In many of these events 2/3-inch UHD lens-

cameras were being tested for the first time. 

   

 

 

 

                                 

In light of this global activity in UHD, Canon has given a first priority to developing the long zoom field box 

lenses and portable lenses that are central to such television productions.  In August 2015 we announced 

the world’s first 4K wide angle portable lens – the CJ12ex4.3B.  In September 2015 we announced two 

new 4K UHD Long zoom field lenses – the UJ86x9.3 Premier UHD lens and the UJ90x9B UHD lens and 

a longer zoom portable lens CJ20ex7.8B.  The UJ90x9B and CJ12ex4.3B are now shipping to customers. 

 

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Few television studios in the U.S. have yet committed to fully outfitting a 4K UHD studio.  Those that are 

originating some 4K UHD programs are typically operating hybrid studios – that continue to use 2/3-inch 

HDTV lens-camera systems for ongoing HDTV program origination and alternating with Super 35mm 4K 

cameras for those few shows that seek to originate in the UHD format.  Some broadcast studios have, 

however, found that while certain television program genres capitalize on the cinematic look of the Super 

35mm systems other shows are better served with the same depth of field to which they are accustomed 

when originating in HDTV.  As a consequence of this some major broadcasters are presently conducting 

serious testing of 2/3-inch 4K UHD lenses and cameras.  Canon is participating in many of these tests.  

While serious discussions are underway on the anticipated needs of UHD television studios – no studio to 

date has made any decisions to begin originating with 2/3-inch 4K lens-camera systems.   That can, of 

course, change at any moment. 

In the meantime, Canon’s initial 2/3-inch 4K UHD lens development priorities are centered on the long-

zoom field lens and the EFP portable lens needs.  From a technical stance this is a fortuitous progression 

as the optical, optomechanical, and electronic requirements of very long zoom 4K field box lenses are 

significantly more challenging than those of the more modest zoom box studio lens.  Mobilizing the best in 

contemporary computer simulation, new design tools, new optical glass materials and associated optical 

coatings to help optimize the overall performance of the 4K UHD field lens will help pave the way to a 

more expeditious design project for the future 4K UHD studio lenses. 

   

 

 

 

 

 

 

 

 

                                          

The past decade has witnessed quite astonishing advances in motion imaging.  Both theatrical motion 

picture and television production have been profoundly affected by the global developments in cameras, 

camcorders, and their associated lenses.  Canon is today immersed in innovative developments on all of 

these fronts.  HDTV and 2K continue to play large roles in theatrical motion picture and television 

production and will continue to do so.  4K and UHD are garnering increasing worldwide attention.  The 

blurring between moviemaking and television production is exemplified by the emergence of the latest 

generation of cameras and camcorders that can switch between 4K / UHD / 2K / HD.  The Canon EOS 

C500 and the EOS C300 Mark II cinema cameras typify such creative flexibilities.     

It was this fluid global  production scenario that guided the unusually expansive  lens development 

programs within Canon.  Our Cinema EOS professional cinematography lenses have all been designed 

to full 4K optical performance –  anticipating the era of 4K / UHD while also offering enhanced 

performance to the all-important 2K / HD lens-camera systems.  The relatively sudden emergence of 4K 

UHD 2/3-inch camera systems sees Canon now energetically engaged in broadening our lens portfolio to 

encompass this important new movement.  Today the formidable optical design team of the tradition 

broadcast lens division and their renowned peers within the EF Lens division are collaborating on the 

extensive development agenda to expand choices in lenses for all of the existing digital motion imaging 

systems as well as anticipating those developments yet to appear. 

The UJ90x9B UHD field lens began  delivering  in  December 2015, and the  CJ12ex4.3B wide angle 

portable UHD lens began delivering in January 2016. The UJ86x9.3B Premier UHD lens and CJ20ex7.8B 

is expected to be delivered in June 2016.   

 

[1] 

ITU-R BT.2020 Parameter Values for UHDTV Production and International Program Exchange 

[2] 

SPIE2015 Baltimore Technical paper:  “New Long Zoom Lens for 4K S35mm Digital Cameras” 

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