GEAR CANON R6 III VS C50
QUIET FOCUS The 70-200mm f/2.8 is a must- buy optic, with fab bokeh and compression
Motion work is where this lens really distinguishes itself. The new Voice Coil Motor (VCM) autofocus system is fast, near-silent and confidence-inspiring, especially for gimbal, documentary and run-and- gun shooting. Focus transitions are smooth and predictable, with minimal breathing – a crucial detail that makes the lens feel far more cinema-friendly than traditional stills primes. When combined with Canon’s Dual Pixel AF systems, it is a strong option for solo operators who rely on autofocus without wanting it to look mechanical. Handling is also excellent. The lens balances well and the inclusion of a dedicated iris ring reinforces its video-first credentials. Build quality is solid, weather sealed and ready for real-world production environments. At 24mm, the f/1.4 might seem like overkill to some, but in practice it offers proper creative flexibility, from low-light documentary work to environmental portraits with gentle background separation. It encourages you to shoot wide open without fear. The RF 24mm f/1.4 L VCM is not cheap, but it feels like a future-proof investment. For filmmakers and hybrid shooters who want a fast, wide prime that behaves beautifully on-set, it’s one of Canon’s most compelling RF lenses yet.
Wide-open possibilities The RF 24mm f/1.4 L VCM from
impressive sharpness throughout the frame, strong contrast and excellent control of chromatic aberration and distortion. Even when used wide open at f/2.8, images and footage exhibit high micro-contrast and crisp detail – characteristics that give a prime-like performance across the zoom range. Autofocus performance stands out. The USM (Ultrasonic Motor) drive is both fast and whisper-quiet, locking onto subjects quickly and tracking them reliably – especially useful for run-and-gun shooting or capturing unpredictable movement. Its optical Image Stabilisation (IS) system further enhances usability for steady handheld results even in lower light or at longer focal lengths. Handling is solid with robust build quality, weather sealing and a damped zoom/focus action that make the lens feel at home on gimbals, tripods or handheld rigs. The constant physical length and inner focusing design also keep balance predictable as you zoom. There are compromises, however, as at full extension it’s a substantial piece of glass, and filmmakers should mind its weight on long shoots. But if you want a single long lens that doesn’t compromise optical quality or performance, the £3059/$2799 RF 70-200mm f/2.8 L IS USM remains a cornerstone of any professional’s kit.
Canon’s new range of hybrid primes is an essential fit in our three-optic set, as it gives a wider field of view than the standard zoom and a much wider aperture for shallow depth-of-field effects. It is also much smaller and lighter, so works better on a rigged- up camera or when used on a gimbal. It marks a new direction for Canon’s fast prime lenses compared to the bigger stills-based sets, and takes advantage of the latest in lens-to- camera electronics. At £1680/$1549, the RF 24mm f/1.4 L VCM delivers exactly what you would expect from Canon’s L-series. Wide open at f/1.4, it is impressively sharp in the centre with strong edge performance for a lens this fast, while stopping down tightens things even further without losing character. Contrast is punchy without looking brittle, colours are rich but neutral and highlight roll-off feels smooth and controlled, which is particularly useful for Log and HDR workflows.
“The Canon 24mm f/1.4 VCM hybrid prime is an essential fit in our three-optic set”
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