Canon has long been a trusted name in both photography and cinematography, but it’s been a while since we’ve highlighted any new releases from the brand. The last time we dove into their products, it was nearly two years ago, with the CN-E Flex Zoom lenses. Since then, Canon has been relatively quiet, especially as other brands have adapted to the mirrorless market. However, Canon recently launched the VCM L hybrid lenses, a series designed with promising features that could be particularly useful for video creators. The question is, how do they hold up for filmmaking, and more importantly, can they be Cine-Modded?
Canon’s Legacy in the Filmmaking World
Canon’s legacy in both the photography and cinema worlds is undeniable. From their beloved EF mount lenses to their high-end CN-E series, Canon lenses have been a staple on professional sets for years. Their K35 and FD primes are also surging in popularity. The ability to modify these lenses for cinema use has made them incredibly popular with filmmakers, especially indie and documentary shooters. These lenses’ tactile controls, like the manual focus ring, have been key for creating a hands-on, cinematic experience.
The VCM L lenses, a new addition to the Canon lineup, bring hybrid technology into the mix. We were fortunate to receive a full set to experiment with—three prime lenses and two zooms. Naturally, we were eager to see if these lenses would be suitable for cine-modification, adding focus gear rings and standard 80mm front rings for a more seamless production workflow.
Build Quality: Designed for Convenience
Out of the box, the VCM L lenses show some slight distortion and aberrations. These issues aren’t unique to Canon—modern mirrorless lenses from every manufacturer often rely on software corrections. I’ll also state that it these attributes are only really a concern if you are shooting stills. When you are shooting video, the corrections are already applied. We only mention them as these will be used for both disciplines. Anyway, once those corrections are applied, these lenses are impressively sharp, even when shot wide open. Their ability to isolate subjects and render a natural pop is a hallmark of the Canon aesthetic. The flare is present but handled smoothly, even in harsh light, contributing to the romantic, cinematic quality Canon is known for.
The build quality of the VCM L lenses is another plus. Compared to older EF lenses, which were often inconsistent in size and weight, the new RF-mount lenses are standardized, making them easier to swap between when using accessories or working on a gimbal. Their composite construction feels premium while still being light-weight. They’re definitely not as tactile as say the Zeiss Otus ML, but I would trust that they would withstand normal use on set. The addition of an iris ring is particularly appreciated, adding a more cinematic touch to the hybrid design.
In addition to having the VCM lenses in, Canon also lent us their new C400 cinema camera. We have to say, it was a joy to use. It was easy to use with all the auto features turned on, but obviously we at least flicked the focus switch to manual to see what was what. A quick test, but enough to feel that these lenses have potential.
By the way, we aren’t colorists by any means, but even with a simple grade the C400 and 35mm VCM L look great. Much more experienced hands could pull way more out of this pairing than we can. Ours hopefully gives you an idea.
To Cine-Mod or Not Cine-Mod?
When evaluating any lens for cinema use, the key question we ask is simple: does it work? There’s a reason lenses like the Zeiss Super Speeds have stood the test of time—they just work. The VCM L lenses may not have the same legacy, but they certainly perform well enough for shooting stories. More importantly, as cine-mod specialists, we always ask, can it be Cine-Modded?
A major factor in the decision to mod these lenses is their focus feel. Autofocus, while improved, still falls short when it comes to manual control, which is essential for precise cinematography. It’s also a point to which we as artists directly impact the final piece we create. Manual focus is still the preferred method in the industry today. The fly-by-wire systems in most modern lenses lack the tactile, direct connection that filmmakers rely on for smooth focus pulls. However, with the VCM L lenses, adding modifications like a focus gear and front rings would significantly improve their usability on set, offering manual focus control through a follow focus system.
By cine-modding these lenses, you also enhance their efficiency for everyday filmmaking. The uniform design of the VCM L lenses makes adding standard 80mm front rings an easy process, saving time on set when switching between lenses or accessories. These practical adjustments streamline workflows and provide flexibility for hybrid shooters who want to take their productions to the next level.
Conclusion
The Canon VCM L lenses represent a solid choice for hybrid shooters and independent filmmakers looking to upgrade their setups. While their performance straight out of the box is already impressive, cine-modding these lenses can take them to the next level, providing the manual control and efficiency that professional cinematographers demand.
If you’re a filmmaker looking to streamline your workflow, we invite you to send your lenses in for a modification. With our expert services, we can transform your Canon VCM L lenses into powerful, cinema-ready tools that will help you achieve the precision and control you need on set. Reach out to us today to learn more about our cine-mod services and start enhancing your gear!
If you’re going to focus by hand, per photos, maybe not cinema the lens, so you have more room to grip the lens. When using a follow focus or CMotion, not in photos, then cinemodding is absolutely necessary.