Canon announced the RF70-200mm F2.8 L IS USM Z, RF50mm F1.4 L VCM, and RF24mm F1.4 L VCM, a trio of hybrid RF lenses that will be an integral part of the hybrid shooter and video creators’ toolkit. The lenses combine classic focal length and maximum aperture, and their EF mount predecessors have been popular among professionals for decades.
These video-centric features can also be found on the previously released RF24-105mm f/2.8L IS USM Z and RF35mm f/1.4L VCM. As professional-grade L-series lenses, the three new lenses feature a durable drip-and dust-resistant design, smudge-resistant fluorine coating on the front and rear lens surfaces, and superior optics. These features provide beautiful colours and clean, sharp images even under challenging conditions such as backlight. Besides the video-centric features, the lenses have other technologies and specifications that will appeal to still shooters.
Classic Telephoto Zoom Lens Upgraded for Video
After the RF24-105mm f/2.8L IS USM Z, the RF70-200mm F2.8 L IS USM Z is the second professional hybrid zoom lens that supports advanced, smooth motor-powered zoom control via the Power Zoom Adapter PZ-E2/PZ-E2B (sold separately). It supplements the RF24-105mm f/2.8L IS USM Z with its longer 70-200mm telephoto focal range, capturing high-quality photos and videos of scenes or subjects that are further away such as sports, news and events.
For scenes that require even further reach, the RF70-200mm F2.8 L IS USM Z can be used with extenders, which increase the lens’ zoom range to 98 to 280mm at f/4 with Extender RF 1.4x, and 140 to 400mm f/5.6 with Extender RF 2x. Concurrently, it is also capable of close-ups of small objects – at its 200mm end, it has the closest focusing distance of 0.68m and a maximum magnification of 0.3x. Two Nano USMs (Ultrasonic Motor) in an electronic floating focus control system ensure swift, precise autofocusing while delivering high image quality from close focus to infinity.
The RF70-200mm F2.8 L IS USM Z’s fixed-length barrel and internal focusing design retain the same centre of gravity during zooming, making it easier to use with a gimbal or rig. The RF mount’s design flexibility also enables a more efficient build. The lens is approximately 25% lighter than the similarly built EF70-200mm f/2.8L IS III USM. Its tripod mount can be easily attached and detached without tools to accommodate different setups and shooting styles.
For handheld shooting, the lens boasts powerful image stabilisation (IS) capabilities equivalent to 5.5 stops in the centre (lens alone), 7.5 stops in the centre and 7 stops in the corners. This is achieved through Coordinated Control IS with a compatible camera equipped with In-Body IS. Additionally, users can capture sharper handheld images and steadier handheld video in low light conditions. The same three-mode IS that is available in the RF24-105mm f/2.8L IS USM Z can also be found in the RF70-200mm F2.8 L IS USM Z, improving the user experience since both lenses can be used interchangeably with ease.
As the exterior interface and physical measurements of the RF70-200mm F2.8 L IS USM Z are similar to the RF24-105mm f/2.8L IS USM Z, users can switch seamlessly between these two lenses. This is useful for situations such as video production where users will not be required to adjust their shooting setup if the lenses are swapped.
The RF70-200mm F2.8 L IS USM Z comes in two colour variations, a heat-reflective white to prevent heat buildup during outdoor shoots, and standard inconspicuous black for use on sets where gear should blend in with minimal reflections.
F/1.4 Prime Lenses for Greater Cinematic Expression
As photo and video hybrid prime lenses, the RF24mm F1.4 L VCM and RF50mm F1.4 L VCM are designed to work seamlessly and interchangeably with the RF35mm F1.4 L VCM. Like the latter, both balance lightweight, compact bodies with stunning edge-to-edge image quality and a large f/1.4 maximum aperture. This creates beautiful cinematic shallow focus (bokeh), allowing users to create expressive, layered visuals that separate the subject from the background and enhance each focal length’s unique perspective.
The ultra wide-angle RF24mm F1.4 L VCM provides prominent perspective exaggeration with an angle of view wider than that seen by the human eye, making scenes look more vivid and immersive. Meanwhile, the RF50mm F1.4 L VCM’s standard angle of view produces a natural perspective that endows subjects with a lifelike presence. They complement the RF35mm F1.4 L VCM’s images with different perspectives, allowing users to select the lens that best fulfils their objectives.
The RF24mm F1.4 L VCM and RF50mm F1.4 L VCM have the same colour rendering, image characteristics, and operations with the RF35mm F4 L VCM. The dimensions are consistent, down to the 99.3mm-long body, similar weights, and 67mm front filter diameter. This makes them convenient to swap when shooting videos with a rig or gimbal, and compact enough for shooting handheld outdoors. In addition to a screw-in filter, the RF24mm F1.4 L VCM is also bundled with a rear filter holder for sheet-type filters.
Autofocus is driven by Canon’s new VCM (Voice Coil Motor) combined with a Nano USM, facilitating exceptionally quiet AF operation during video shooting. This results in a precise and swifter subject acquisition and tracking.
Pricing Details:
| Name | Price (MRP `) |
| RF70-200mm f/2.8L IS USM Z (BK)(WH) | `295 995.00/u (incl. of all taxes) |
| RF50mm f/1.4L VCM | `133 995.00/u (incl. of all taxes) |
| RF24mm f/1.4L VCM | `148 995.00/u (incl. of all taxes) |
