After a weekend at Cine Gear 2014 in Los Angeles, it became apparent to me that we won’t be seeing any replacements to the EOS C100, EOS C300 or EOS C500 anytime soon. We were told that the EOS C300 is selling “extremely well” and that the EOS C100 is also selling “better than expected”. The EOS C500 is a bit different and isn’t quite as popular as Canon had hoped, but it could be that the camera is in no mans land as far as price/performance and what people are using $20,000 cameras for.
I did get the impression that Canon does plan to be aggressive in the “A camera” space and will take direct aim at the king ARRI. I’m hypothesizing this point, but after talking to various people, I get the feeling that Canon is serious about clawing its way into the professional, large budget cinema market. With the consumer space in photography shrinking, it does make sense to put resources into new markets for growth.
I don’t think we’ll see any Cinema EOS announcements until next April at NAB 2015.
Canon EOS C100 | Canon EOS C300 | Canon EOS C500
We’re heading to Los Angeles next weekend for the 18th annual Cine Gear Expo. Since we missed the NAB 2014 show in Las Vegas, we figured this was going to be the next best thing. We hope to add some good cinema coverage over the two days we’ll be covering the show. It’s not a show that gets product announcements from Canon, but there should be lots of cinema products worth knowing about.
The show runs from June 4, 2014 until June 7, 2014 at The Studios at Paramount.
About Cine Gear Expo
Cine Gear Expo, in its 18th year, is the premier Film, Video, and Digital Media Expo for the entertainment industry.
Created by the professional for the professional, Cine Gear Expo remains focused to the needs of the community and attracts the most dedicated specialists from every major department of the entertainment production and post production world.
Visit the Cine Gear Expo Website
EOS C300 Feature Upgrade offering enhanced autofocusing capability is now available.
Now available from Canon is a feature upgrade for the EOS C300 Digital Video Camera that will offer an autofocus mode to help ensure sharp focus and smooth focus transitions. The upgrade provides a new Continuous AF (Autofocus) Function for all Canon EF autofocus Lenses, using Dual Pixel CMOS AF technology. A new AF Lock setting also lets you change the image framing while holding the desired focus. These critical focusing capabilities are designed to help reduce out of focus video while providing for smooth focus transitions and assist users when operating with small crews.
Learn more about the EOS C300 Feature Upgrade by visiting the dedicated webpage on the Canon USA website.
Canon USA will perform Feature Upgrade on the EOS C300 at a cost of $500*, and will require that the EOS C300 cameras be sent to an official Canon Service Center. Please contact the Canon Customer Support Center for details. This Feature upgrade is only available for the EF mount EOS C300 Digital Cinema Camera.
This information is for residents of the United States and Puerto Rico only. If you do not reside in the USA or Puerto Rico, please contact the Canon Customer Support Center in your region. Please register your EOS C300. By registering, we will be able to notify you via email when future firmware updates become available for download.
Canon EOS C300 Feature Upgrade | Canon Cinema EOS C300 at B&H Photo
MELVILLE, N.Y., May 14, 2014 – Canon U.S.A. Inc., a leader in digital imaging solutions, is proud to announce that three shows that premiered in spring 2014 chose Canon Cinema EOS Digital cameras and lenses to capture their compelling stories. The three series, airing on CNN/U.S., include CHICAGOLAND, from Executive Producers (EP) Robert Redford and Laura Michalchyshyn and the award-winning Brick City Television, LLC (BCTV) filmmaking team Marc Levin and Mark Benjamin, DEATH ROW STORIES, from Academy Award-winning Executive Producers Alex Gibney and Robert Redford, and MORGAN SPURLOCK: INSIDE MAN, from Oscar-nominated filmmaker Morgan Spurlock. These television series were developed in 2013 to produce unscripted, informative, and entertaining non-fiction programming for the cable television news channel. Each turned to Canon when making their eight, one-hour long episodes.
“Canon is honored to be the camera of choice for these three television series,” said Yuichi Ishizuka, president and COO, Canon U.S.A. “Our Cinema EOS Digital cameras have been designed for use in productions just like these and to be chosen for three docu-series on one network is quite humbling.”
When cinematographer Daniel B. Levin was preparing for CHICAGOLAND – a series that tells the story of its namesake city as it confronts an education system in turmoil and public safety crisis – he turned to the Canon EOS C300 Digital Cinema camera in order to fulfill his need for a rugged, ergonomic, compact camera, that would produce a cinematic image to meet the high standards of the production team. “We wanted to weave beauty, texture, and the city in with doc-verite, real, gritty, run-and-gun filmmaking,” said Levin. “The remarkable thing about the C300 camera is you can build it as big as you want, or strip it down as small as you want.”
The flexibility of the Canon EOS C300 Digital Cinema camera system made it possible for Levin to follow Chicago’s policymakers, community leaders, and residents through the various elements and public locations like Mayor Rahm Emanuel’s office at City Hall as his team works to improve the metropolis’ social policy, education, and public safety.
To keep his rig light and his focus sharp, Levin paired the Canon EOS C300 Digital Cinema camera with a set of Canon EF L-series lenses, including the EF 24-105mm f/4L IS USM, EF 50mm f/1.2L USM, and the EF 70-200mm f/2.8L IS II USM. “If you have these lenses – which could all fit in a backpack – you’re basically good to do anything,” concluded Levin.
Airing on eight successive Thursday evenings, CHICAGOLAND began March 6, 2014 at 10:00pm ET/PT.
DEATH ROW STORIES
Academy Award-winning directors Alex Gibney and Robert Redford teamed up to create DEATH ROW STORIES, a series that unravels a different capital murder case per episode, calling into question the myriad of beliefs about the death penalty and the American justice system. Directed by Gibney, narrated by Academy Award-winning actress Susan Sarandon, and executive produced by Sundance Productions’ Robert Redford and Laura Michalchyshyn, and Jigsaw Productions’ Alex Gibney, Dave Snyder, Stacey Offman, and Brad Hebert, DEATH ROW STORIESrelies on powerful interviews and chilling recreations to explore the issues surrounding capital punishment.
Cinematographer Antonio Rossi chose the Canon EOS C500 4K Digital Cinema camera and the EOS 5D Mark III Digital SLR camera to capture the look he wanted for the series. “We are dealing with extremely dramatic, life and death subject matter, and I try to express that drama in my camera work. So we try to make our interviews noir-ish and saturated, while conveying the gravity of the events portrayed. The EOS C500 camera beautifully allowed me to achieve the look I desired,” said Rossi.
To balance a high-quality picture with a simple workflow, Rossi chose to record a 1920 x 1080 HD image from the EOS C500 camera to a Sound Devices PIX 240i portable video recorder. He relied on an EOS 5D Mark III as his second camera and mounted Canon Cinema lenses and EF lenses interchangeably between the two. Using a Canon Cinema CN-E30-105mm T2.8 L S lens for all interview segments, his lens package also included an EF 100mm f/2.8 Macro USM, Cinema Primes CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 F L, as well as L-series EF 16-35mm f/2.8L II USM, EF 24-70mm f/2.8L II USM, EF 24-105mm f/4L IS USM, and EF 70-200mm f/2.8L IS II USM lenses.
Rossi sums up his experience using Canon on DEATH ROW STORIES by noting, “The EOS C500 and the EOS 5D [Mark III] cameras work really well together as a system. And, you have the ability to use a range of lenses and shoot in a lot of different kinds of situations.”
The first episode of DEATH ROW STORIES debuted on Sunday, March 9, 2014 at 9:00pm ET/PT. A summer season will air beginning Sunday, July 13, 2014.
MORGAN SPURLOCK: INSIDE MAN
CNN’s popular original series MORGAN SPURLOCK: INSIDE MAN and its charismatic producer, director, and host will return to the airwaves this spring for a second season. The show, which clocked in as the network’s third most-watched program in 2013, explores topical subjects as Spurlock immerses himself in the issue at hand to provide a personal perspective. “Celebrity,” “The Future,” and “Income Disparity” are just a few of the themes MORGAN SPURLOCK: INSIDE MANwill tackle during its sophomore season. And while the topics of the show are varied, the producers’ emphasis on image quality is unchanging.
“We want the show to feel cinematic, large in scope, but at the same time, want it to feel real,” said Jeremy Chilnick, Executive Producer of the series and Head of Production at Spurlock’s Warrior Poets production company. “The authenticity of what you hope your audience feels is as important as making sure that it looks beautiful.”
In order to deliver the aesthetic and realism required for the show, cinematographer David Vlasits relied on the Canon EOS C300 Digital Cinema camera, as well as two Canon EOS 5D Mark III Digital SLR cameras, for both seasons one and two. While the EOS 5D Mark III Digital SLR served as his go-to camera for interior car shots, Vlasits chose the Canon EOS C300 Digital Cinema camera for day-to-day production because of its low-light capabilities, small profile, dual CF card slots, and long battery life.
The camera’s ergonomics were also a major benefit to Vlasits. “From an operating standpoint, I want a form factor that’s comfortable and balanced on my shoulder that can just as easily be put placed on a tripod when needed,” Vlasits said.
Season two of MORGAN SPURLOCK: INSIDE MAN premiered on Sunday, April 13, 2014 at 10:00pm ET/PT.
Daniel B. Levin, Antonio Rossi, David Vlasits, and Jeremy Chilnick discussed the lengths they go to capture their compelling stories and why they rely on Canon Cinema EOS systems at the “Canon Spotlight: CNN Original Series” panel at the 2014 Sundance Film Festival. These testimonials, along with additional behind-the-scenes videos can be found at the Canon Professional’s Vimeo page at https://vimeo.com/canonpro.
For more information about Canon Cinema EOS cameras and lenses, please visit the Canon U.S.A. website at http://cinemaeos.usa.canon.com/
New Compact Portable HD Lens for 2/3-Inch Imager Cameras Features High Peripheral Resolution, First-Class Magnification, Focal Length, MOD, and a New Drive Unit
MELVILLE, N.Y., April 2, 2014 – With an impressive design and competitive price, the new HJ18ex7.6B portable HD zoom lens from Canon U.S.A., Inc., a leader in digital imaging solutions, delivers superb optical quality and versatile operability, improving on the performance of its widely used predecessor, the HJ17ex7.6B lens. Utilizing a generous focal length range of 7.6mm to 137mm (15.2mm to 274mm with its built-in 2X extender) and a Minimum Object Distance (MOD) of 0.56m (10mm with Macro), this new member of Canon’s family of HD portable lenses enables shots to be taken four centimeters closer than with rival lens models, an advantage for camera operators working in tight locations such as studio spaces or on-site home-improvement reality television locations.
Designed with broadcast news gathering in mind, the HJ18ex7.6B portable HD zoom lens features an advanced new optical design that helps ensure high-peripheral resolution and contrast from its closest subject-focusing distance out to over 19 feet. This enables news shooters to capture “head and shoulders” shots from distances further away than previously possible with comparable ENG lenses. A new design for the Digital Drive Unit provides additional advantages including a more comfortable hand grip, simple display-based operations for improved operability, greater digital precision for integration with virtual studio systems, and reduced power consumption compared to predecessor Canon models.
“The new Canon HJ18ex7.6B zoom lens is designed for use in diverse news and documentary situations, which can frequently involve rapid changes in subject distance and associated focal length,” noted Larry Thorpe, senior fellow, Professional Engineering & Solutions Division, Canon U.S.A., Inc. “The imaging enhancements of the HJ18ex7.6B zoom lens reflect Canon’s ongoing optical research and development, which resulted in sophisticated aberration compensation for virtually distortion-free imaging throughout the zoom range, and advanced encoders for rapid start-up and turn-on. This is a fully equipped, yet cost-effective, 2/3-inch HD ENG lens that embodies the optical and optomechanical qualities that have made Canon portable lenses one of the top choices for TV news and HD documentary productions.”
The Canon HJ18ex7.6B portable HD zoom lens delivers improved operability due to its compact size, lightweight 3.5 pound design, short MOD, and simplified settings menus. These menus are part of the HJ18ex7.6B’s new Digital Drive unit, which – as with most Canon portable HD lenses – enables camera operators to program repeatable zoom positions and speeds, as well as focus and iris settings if they so choose. This new Digital Drive unit also delivers new user-benefits by virtue of its integration of an absolute value encoder. This advanced technology, integrated into the Digital Drive unit, enables rapid start-up and power-on of the lens, with instant detection of lens positions and lens/camera aberration correction, as well as reduced power consumption compared to predecessor Canon models for support of long battery-powered shooting times.
The advanced encoders of the Canon HJ18ex7.6B’s Digital Drive unit are able to detect and generate extremely precise positional data that can be output to virtual set systems. This data is output via the unit’s three 20-pin zoom and focus servo-control connectors, allowing for optimal system support prevision. Other important changes in the Canon HJ18ex7.6B portable HD zoom lens that further enhance user convenience include the addition of magnification and wide-end markings, deletion of the glossy logo plate, and the simplification of other markings on the Digital Drive unit.
Pricing and Availability
The Canon HJ18ex7.6B portable HD zoom lens is expected to be available in July 2014 for a suggested retail price of $20,700.00 (IRSE S) and $22,600.00 (IASE S). For more information, please visit the Canon U.S.A. website at www.pro.usa.canon.com/Broadcast