Archive for the ‘Canon Cinema EOS’ Category
CPN has posted an article explaining the dual pixel technology upgrade for the Cinema EOS C100 camera.
How does dual pixel CMOS AF work?
Dual Pixel CMOS AF is a sensor-based, phase-detection autofocus (AF) technology that’s designed to provide smooth, high-performance continuous focus in movies. It is a unique, Canon-developed technology, ideal for fast and accurate autofocus, helping filmmakers to create stunning footage which maximises the creative options offered by fast lenses and shallow depth-of-field.
The EOS C100 camera with Dual Pixel CMOS AF technology features a CMOS sensor that consists of an array of pixels that each feature two separate photodiodes. By continuously comparing their outputs during AF Mode, phase-difference autofocus helps to ensure non-blurred images and smooth focus transitions even when the subjects and/or camera are moving. The new feature places a high priority on maintaining sharp focus while, providing a natural, smooth autofocus movement with selected Canon EF lenses that offer even smoother and quieter operation.
After this modification, the EOS C100 camera’s Continuous AF function active area represents 20% of the image vertically and 25% horizontally, yielding a very large, centrally located autofocus zone. The AF Lock mode allows you to set focus and hold it, allowing you to change framing while maintaining the original point of focus.
Read the full article | Canon Cinema EOS C100 $4999 at B&H Photo
We heard rumour that some folk in the video world are selling off gear in anticipation of a global shutter capable of 2.5k video being made available on an, as of yet, unnamed DSLR. While the wording is hearsay, A global shutter DSLR would definitely be an advancement in film-making tech.
Canon’s been pushing the threshold of video DSLR’s since the launch of the 5DMKII, so there’s no surprise that they would be working to incorporate even more “pro” level video tech in their cameras. It has been their push but, as this is from an unconfirmed source, be sure to sprinkle salt liberally with what you read.
The Canon Digital Learning Centre has published a new batch of white papers on their EOS Cinema system including:
NEW: Personality of the Canon Cinema EOS Lens: Design Strategies
The newer generation of Cinema EOS lenses came from multiple optical design resources within Canon, such as ourEF Lens and Broadcast Lens designs.
NEW: Personality of the Canon Cinema EOS Lens: Image Sharpness
A design goal with the Cinema zoom lenses was to achieve an overall optical performance that would equate with the best of contemporary prime lenses over their respective focal lengths.
NEW: Personality of the Canon Cinema EOS Lens: Color Reproduction
The new generation of Canon Cinema lenses paid high attention to optimizing color reproduction of the lens-camera system, such as how it reproduces skin tones of various ethnicities.
NEW: Personality of the Canon Cinema EOS Lens: Contrast
Achieving a high contrast ratio is universally sought by cinematographers and is always a central design goal for the optical designers.
Was there any doubt? :)
Setlife Magazine has posted a couple of graphics showing the technical specifications of cameras and lenses used in the making of the cinematography & best picture nominees.
EOSHD points out a very interesting observation. There isn’t a single RED camera on the list. It’s almost a clean sweep by ARRI.
Although, Canon should be happy with the C300′s and C500′s that have shown up in a few films. I think it’s good news for Canon since Cinema EOS is still pretty infant, and as EOSHD points out, they’re under-specced compared to their competition.
Something to build on for Canon.
SetLife Magazine on Facebook | Read Full EOSHD Article
Hybrid EVF Coming to EOS?
There is a new rumor floating around about the next high end, and high megapixel camera from Canon. Apparently this camera will have a hybrid EVF, optical for stills and electronic for video purposes. Megapixel count is said to be 35mp or higher, though the exact number isn’t known.
The moniker for the camera? The EOS-A1, though it’s unknown if that’s just the prototype name.
I’m sure there will be a time when Canon starts to experiment with different solutions for the viewfinder in cameras. If the above technology is an actual thing Canon is testing, I’d expect to see it in a Cinema EOS DSLR first. Perhaps such a feature that could differentiate it from its standard EOS cousin? Speaking of which, we have been told to expect a new Cinema EOS DSLR in 2014, and most likely at NAB in “development” form.
A grain of salt on this one, this is a rumor from another web site.
Dual Pixel technology more than just AF?
NL reports that they’ve been told to expect even more new features from Canon’s Dual Pixel technology other than autofocus. Currently the tech appears in the EOS 70D and will also appear in an upgraded EOS C100. Will the C300 get a similar upgrade?
Apparently dual pixel design will need the latest generation of processing (DIGIC 6/7?) technology to realize its full potential. The benefits of this alongside new CODECS will be seen in the next Cinema EOS cameras and possibly in new high end DSLRs.
The video and stills segments of the professional lineup will get upgrades in 2014. Cinema EOS will get it first, and possibly be shown in April at NAB 2014 in Las Vegas. DSLRs will get it in the second half of the year and will most likely be shown at Photokina 2014 in Cologne, Germany.
New EOS C100 Camera Feature Upgrade Offers Outstanding Continuous AF Performance for Documentary, Electronic News Gathering, and Small-Crew Productions
MELVILLE, N.Y., November 5, 2013 – Canon U.S.A. Inc., a leader in digital imaging solutions, announced today that the Company will offer an optional feature upgrade for the EOS C100 Digital Video camera which will support innovative Dual Pixel CMOS AF autofocus technology, enabling continuous autofocusing with Canon’s entire EF lens lineupi. This optional upgrade is expected to be available in February 2014 for a cost of $500.00 and will require the EOS C100 camera body to be shipped to a Canon service center.
The Canon feature upgrade will provide the EOS C100 camera (first introduced in November 2012) with greatly improved autofocus (AF) functionality made possible through Dual Pixel CMOS AF technology. First employed in the EOS 70D digital SLR camera launched in August 2013, the innovative new AF technology helps facilitate greater shooting efficiency across a variety of shooting situations. For users that work with moving subjects, this optional Dual Pixel CMOS AF upgrade for the EOS C100 camera will allow for a smoother, more natural autofocus that can be particularly useful for video markets like documentary, sports, event and wildlife.
Canon’s Dual Pixel CMOS AF makes use of the Company’s proprietary CMOS sensor technology with a new structure that both captures light and performs phase-difference detection autofocus. While focusing on the EOS C100 camera is primarily performed manually, the feature upgrade will enable smooth continuous AF, a capability that can be particularly beneficial when operating with a small production crew, electronic news gathering, or run-and-gun documentary-style shoots.
The Dual Pixel CMOS AF functionality offered through the feature upgrade supports continuous AF with all compatible Canon EF lenses for subjects positioned in the center of the imaging area. The complementary use of the contrast signal achieves advanced AF stability that helps reduce the occurrence of image blur. Also, the inclusion of an AF Lock function contributes to expanded shooting flexibility through focus preset, which allows users to set a desired focus distance in advance, and the ability to alter the photographing range or composition after establishing focus.
This optional feature upgrade increases the speed of the EOS C100 camera’s One-Shot AF function by approximately two-times, which enables users to focus on a subject located at the center of the screen with the push of a button, a feature that is currently supported on 104 Canon EF lens modelsii.
This feature upgrade service will be made available to users through Canon’s product maintenance centers. For more information about this update, please visit the Canon U.S.A. website at usa.canon.com/cusa/professional/standard_display/eos_c100_feature_upgrade .
Canon EOS C100 at B&H Photo $5499
Designed for Film-Style Operation, the Canon Cinema Prime Lenses Deliver Exceptional 4K / 2K / HD Imaging Performance and a Broad Range of Focal Lengths
MELVILLE, N.Y., September 4, 2013 - Canon U.S.A., Inc., a leader in digital imaging solutions, has announced today the new CN-E35mm T1.5 L F single-focal-length Cinema prime lens designed for large-format single-sensor digital cinematography cameras employing Super 35mm or full-frame 35mm imagers. Delivering outstanding optical performance in contemporary 4K / 2K / HD motion imaging, the new Canon CN-E35mm T1.5 L F prime lens is the sixth member of Canon’s line of compact, precision-matched EF-mount Cinema prime lenses, which also includes 14mm, 24mm, 50mm, 85mm and 135mm EF-mount models.
Collectively, Canon’s Cinema prime lens family delivers a wide range of the most important choices in focal lengths to address a myriad of creative digital cinematography choices. All six Canon Cinema prime lenses provide a full-frame 36mm x 24mm image circle for full compatibility with the Canon EOS-1D C, EOS C500, EOS C300 Digital Cinema cameras, the EOS 5D Mark III and EOS-1D X DSLR cameras, the EOS C100 Digital Video Camera and EF-mount cameras made by other manufacturers. The lenses also feature consistent color balance, minimal focus breathing, water-resistant rubber gaskets, and an 11-blade aperture diaphragm to help achieve creative depth-of-field manipulation and pleasing “bokeh” effects. The six Canon Cinema prime lenses are also designed to facilitate production with uniform stepless gear-positioning rings for iris and focus, with an identical 300§ smooth rotation angle on the focus ring. These control rings – switchable from feet to metric labeling – maintain just the right amount of resistance with consistent operating torque. Lens barrels are engraved with easy-to-read scale markings, and consistent 114mm front lens diameters can accommodate screw-on filters and other accessories.
“As with all Canon Cinema prime lenses, the new Canon CN-E35mm T1.5 L F lens has been crafted to meet the creative requirements of the most discerning cinematographers, directors and producers,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “Filmmakers indicated a need for this lens in our lineup and with its launch, we now offer six cinema prime lenses covering some of the most important focal lengths.”
Canon EF Mount Advantages
All Canon Cinema prime lenses feature a genuine Canon EF-mount with electronic contacts that interface with corresponding contacts on Canon cameras for direct communication between each device. This communication allows lens data – including F-numbers – to be displayed in the viewfinder. Both the F-number and the lens model name are also recorded in the camera’s video file as metadata. The new upcoming firmware announced today for the Canon Cinema EOS C500, EOS C300 and EOS C100 cameras will provide Canon proprietary features, such as the Peripheral Illumination Correction function, for the CN-E14mm, 24mm, 50mm, 85mm and 135mm lenses and is scheduled to be available by the end of 2013. Such features are scheduled to be available for the new CN-E35mm lens in 2014.
Canon EOS 50D Cinema Camera!
Magic Lantern has made it possible to shoot RAW video on the 5 year old Canon EOS 50D. The forgotten 15mp APS-C predecessor to the EOS 60D.
The software is very early in development, but at least one person that has shot with the camera and firmware is quite impressed. EOSHD notes that the camera has hardly any moire or aliasing in early tests and the ISO performance is terrific. The larger pixels on the 15mp sensor really do make a positive difference over the 18mp sensor that we’ve had for years now.
Below is a bit of information of what works well with the current software on the EOS 50D.
Resolution & Performance.
Results (24 fps):
1592×1062 – frame skipping after about 50 frames (67.7MB/s)
1592×840 – frame skipping after about 480 frames (53.5MB/s)
1592×720 – no frame skipping (44.3MB/s)
1320×1062 – frame skipping after about 300 frames (56.1MB/s)
1320×960 – frame skipping after about 1200 frames (50.7MB/s)
1320×840 – no frame skipping (44.3MB/s)
1280×1062 – frame skipping after about 250 frames (54.4 MB/s)
1280×960 – no frame skipping (49.2MB/s)
You can read more and see sample video at EOSHD.
image from EOSHD.com
MELVILLE, N.Y., April 3, 2013 – Canon U.S.A., Inc. a leader in digital imaging solutions, announced today new firmware and application software upgrades for the Company’s Cinema EOS System lineup of cameras. New ACES compatibility software for the Cinema EOS C500 and Cinema EOS C500 PL Digital Cameras will be available as a free download expected in June 2013. Additional Cinema EOS firmware upgrades, including a new 1,440 x 1,080 pixel recording mode at 35Mbps for the Cinema EOS C300 and Cinema EOS C300 PL Digital Cameras, are expected to be available as free downloads starting in October 2013, all from thewww.usa.canon.com.
In response to strong demand from professionals working in the fields of motion picture, commercial and television production, the firmware and application software upgrades will offer enhanced color management efficiency and camera functionality, contributing to improved video production workflow efficiency.
ACES Compatibility for Greater Production Workflow Efficiency (EOS C500/EOS C500 PL)
Cinema EOS C500 and Cinema EOS C500 PL camera users will be able to download a new version of Canon’s Cinema RAW Development Software for working with 4K RAW data. The new version provides support for the Academy Color Encoding System (ACES) color management standard, as defined by the Academy of Motion Picture Arts and Sciences (AMPAS) and standardized by the Society of Motion Picture & Television Engineers (SMPTE). Compatibility with ACES helps make efficient workflows possible, enabling color management using a uniform color space – even when handling video captured using multiple cameras with different color characteristics.
Automatic Functions (EOS C300) and New Recording Mode (EOS C300/EOS C300 PL)
A new firmware upgrade for the Cinema EOS C300 Digital Camera adds Push Auto Iris and One-Shot Autofocus (AF), two outstanding automatic functions incorporated in the Cinema EOS C100 Digital Camera (released in November 2012). These functions enable users to automatically adjust lens aperture and focusing through a simple one-touch operation, which can be particularly useful for cinematographers and videographers shooting without the support of an assistant.
In addition, a firmware upgrade for the Cinema EOS C300 and Cinema EOS C300 PL Digital Cameras adds a 1,440 x 1,080 pixel recording mode at 35Mbps, a resolution widely used in terrestrial digital television broadcasting. This new mode will expand the versatility of the XF codec and can be a useful addition for broadcast applications where the reduced bandwidth requires less transmission time while still maintaining a high level of image quality.
Shifting Display Location during Magnified Focus Assist (EOS C100, EOS C300/EOS C300 PL, EOS C500/EOS C500 PL)
Firmware upgrades for the EOS C500 and EOS C500 PL, EOS C300, EOS C300 PL, and EOS C100 Digital Camera models enable the Magnified Focus Assist function’s magnified view area within the viewfinder and LCD monitor to be shifted to locations other than the center of the screen, allowing users to confirm focus across the entire display area.
Professionals in the cinema, television and other high-quality digital production industries commonly make use of multiple cameras when shooting video. As these cameras employ different sensors, each offers varying color characteristics. In addition, users can select from a diverse range of camera settings during image capture, such as aperture, focus position, frame rate and recording format, and because of this, images shot for a single scene can produce different results in terms of color and gradation, depending on the camera used.
Furthermore, when inputting, editing and outputting video, professionals may use various displays, each with its own color space, resulting in differences in how colors appear depending on the device used, even when viewing the same footage. For example, the viewfinder of a camera used during filming, the PC display used to edit the images, and the projector or television for viewing the video each offer varying color characteristics, causing the colors in the video to appear differently.
Therefore, color management takes a great deal of time and effort to correct for camera- and display monitor-related color differences.
ACES is a color management architecture developed by AMPAS, and standardized by SMPTE, that aims to improve efficiency among complex color management workflows by delivering uniform color expression through a standardized color space used during the video production workflow. Through compatibility with ACES, video captured using different cameras and settings can be aligned with the ACES color space, which offers a wide color range and high dynamic range. ACES provides an archive-ready file format, and also delivers high workflow efficiency by allowing users to confirm images with the same appearance even when using display devices with varying color characteristics during input and output.