# Canon to release PL mount versions of their Cinema CN-E prime lenses in 2019 [CR3]



## Canon Rumors Guy (Jan 22, 2019)

> We’re told that Canon will finally be releasing PL mount versions of all of their cinema prime lenses. Currently, only 6 CN-E zoom lenses are available in PL mount.
> *Canon’s Cine Prime Lineup:*
> 
> CN-E 14mm T3.1 L F
> ...



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## BeenThere (Jan 22, 2019)

Can a Canon LPL Mount (converted R lens) be far behind?


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## bgoyette (Jan 22, 2019)

This is such an odd move. I own a set of these lenses, but I don't think they've really been very popular amongst the cine crowd. Giving them a PL mount seems like something they would have done 5 years ago, not sure how it makes them more relevant today, given that the market is transitioning to full frame (LPL) Curious whether they'll retain FF ability in PL as well.

@BeenThere -- your comment on a LPL converted R lens I think is interesting. Art Adams posted on CML the other night that Arri wants LPL to be "the standard" for full frame cinema glass, and is offering the API and licensing "for a song". Not an expert in lens specs..but LPL is actually more like a "wide EF mount"...at 68mm wide, with the same flange distance as EF...it seems like it would be possible to adapt EF to LPL, but I'm not sure RF to LPL would work.


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## RunAndGun (Jan 22, 2019)

They should have done this years ago. It’s been my belief that not being available with a native PL mount(Yes, Duclos does an aftermarket PL conversion) has been what has held them back from more widespread acceptance in the industry. Those that shoot with them, like myself, love them. They make people look great. 

One would think that they would maintain “FF” image circle coverage. Altered Carbon, which was shot on the Alexa 65, used a few CN-E primes. Presumably PL converted.


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## FilmJams (Jan 22, 2019)

bgoyette said:


> This is such an odd move. I own a set of these lenses, but I don't think they've really been very popular amongst the cine crowd. Giving them a PL mount seems like something they would have done 5 years ago, not sure how it makes them more relevant today, given that the market is transitioning to full frame (LPL) Curious whether they'll retain FF ability in PL as well.
> 
> Wouldn't say they're not popular in the Cine Crowd...we've shot 4 films with them last year with 4 different DPs who all like them because they are fast, light, full frame and relatively inexpensive to rent. I know some major productions are using them like Altered Carbon, one of Netflix's highest budget shows. And Duclos Lenses has been offering a PL mount conversion for years now, which after speaking with them, before getting ours, they said is a very popular conversion with their customers. I think the PL offering is late to the game, but welcomed especially with all the full-frame hype now.


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## bgoyette (Jan 22, 2019)

I think what I was meaning was the true cinema crowd...feature films and whatnot shot on Alexa, Varicam and even Red, (which has generally supported the EF mount mores than the others). Rental price doesn't really factor into their equation, and not having a PL mount for all these years, has generally kept these lenses off of a lot of shows, unlike Canon's Cine zooms, which have a PL option, and are very popular. Even last years launch film for the c700 FF used mostly lenses from other manufacturers (canon made a point to mention during the demo that this camera worked with many of the lenses high end DP's are used to from vintage Cooke, to Leica, Zeiss et al) and I think the only canon prime they used was the 20mm that was launched at the same time. 

Full frame is another story. Now that it's becoming more popular on the camera side and there aren't a lot of (reasonable) FF lenses on the market. Canon is in a unique position. I've always said that Canon has a leg up in the FF market, and its surprising that they don't exploit it. The fact that they were about the last to market with a full frame sensor camera is typical Canon, made more obvious by the fact that they had the foresight on the lens side to make these lenses FF when they didn't have a camera for it. (unless you count the 1DC or their still cameras).

Like I said, I own a set of these lenses, and I use them on a lot of projects. They are sharp, and have a clean, neutral look. Like you said, compared to a lot of the glass out there they are lightweight and therefore popular on smaller productions, and in situation where small is needed. I don't really hear high end DP's talking about them in the same breath as Cooke and Zeiss though.


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## HarryFilm (Jan 23, 2019)

We have more than a few of the Canon Cine EF lenses usually used on C300 mk2 productions where the C700 gets the PL mount lenses (i.e. our Array/Zeiss Master Primes and Leica Summilux-C series) with the odd Fujinon HK Premier PL Zooms. I like how lightweight they are and SHORT lengthwise they are compared to some of the much heavier industry standards. The Canon Cine lenses are PERFECTLY FINE for almost any production! They are priced well. They work will the C300 and C700 very well and YES the Duclos conversions ARE EXCELLENT value for money! I should also say that they are quite sharp, so I like using them for wide vistas and cityscapes. AND YES we have been able to stuff them onto a 7D Mk2 for AWESOME relatively lightweight setup stills photography! And at T1.5 you are looking at some SERIOUSLY GOOD LOOKING Nightshots and Astrophotography!
.


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## FilmJams (Jan 26, 2019)

bgoyette said:


> I think what I was meaning was the true cinema crowd...feature films and whatnot shot on Alexa, Varicam and even Red, (which has generally supported the EF mount mores than the others). Rental price doesn't really factor into their equation, and not having a PL mount for all these years, has generally kept these lenses off of a lot of shows, unlike Canon's Cine zooms, which have a PL option, and are very popular. Even last years launch film for the c700 FF used mostly lenses from other manufacturers (canon made a point to mention during the demo that this camera worked with many of the lenses high end DP's are used to from vintage Cooke, to Leica, Zeiss et al) and I think the only canon prime they used was the 20mm that was launched at the same time.
> 
> Full frame is another story. Now that it's becoming more popular on the camera side and there aren't a lot of (reasonable) FF lenses on the market. Canon is in a unique position. I've always said that Canon has a leg up in the FF market, and its surprising that they don't exploit it. The fact that they were about the last to market with a full frame sensor camera is typical Canon, made more obvious by the fact that they had the foresight on the lens side to make these lenses FF when they didn't have a camera for it. (unless you count the 1DC or their still cameras).
> 
> Like I said, I own a set of these lenses, and I use them on a lot of projects. They are sharp, and have a clean, neutral look. Like you said, compared to a lot of the glass out there they are lightweight and therefore popular on smaller productions, and in situation where small is needed. I don't really hear high end DP's talking about them in the same breath as Cooke and Zeiss though.



Those are good points. All I'm saying is they were used on one of Netflix's biggest budget shows last year, Altered Carbon...and I'm sure they're being used on other high budget films. And the fact that Duclos (a high-end lens shop) has offered a PL mod for them that's been popular, maybe there are some high-end DP's using them. We've definitely come across some who love them, and rent them often from us.


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