Archive for the ‘Canon Cinema EOS’ Category
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.
TOKYO, March 4, 2013—Canon Inc. announced today that the company has successfully developed a high-sensitivity 35 mm full-frame CMOS sensor exclusively for video recording. Delivering high-sensitivity, low-noise imaging performance, the new Canon 35 mm CMOS sensor*1 enables the capture of Full HD video even in exceptionally low-light environments.
The newly developed CMOS sensor features pixels measuring 19 microns square in size, which is more than 7.5-times the surface area of the pixels on the CMOS sensor incorporated in Canon’s top-of-the-line EOS-1D X and other digital SLR cameras. In addition, the sensor’s pixels and readout circuitry employ new technologies that reduce noise, which tends to increase as pixel size increases. Thanks to these technologies, the sensor facilitates the shooting of clearly visible video images even in dimly lit environments with as little as 0.03 lux of illumination, or approximately the brightness of a crescent moon—a level of brightness in which it is difficult for the naked eye to perceive objects. When recording video of astral bodies, while an electron-multiplying CCD,*2 which realizes approximately the same level of perception as the naked eye, can capture magnitude-6 stars, Canon’s newly developed CMOS sensor is capable of recording faint stars with a magnitude of 8.5 and above.*3
Using a prototype camera employing the newly developed sensor, Canon successfully captured a wide range of test video,*4 such as footage recorded in a room illuminated only by the light from burning incense sticks (approximately 0.05–0.01 lux) and video of the Geminid meteor shower. The company is looking to such future applications for the new sensor as astronomical and natural observation, support for medical research, and use in surveillance and security equipment. Through the further development of innovative CMOS sensors, Canon aims to expand the world of new imaging expression.
Canon Marketing Japan Inc. will be exhibiting a prototype camera that incorporates the newly developed 35 mm full-frame CMOS sensor and sample footage captured with the camera at SECURITY SHOW 2013, which will be held from Tuesday, March 5, to Friday, March 8, at the Tokyo International Exhibition Center in Tokyo, Japan.
- An imaging element (aspect ratio: 16:9) that supports the largest image circle size possible when shooting with a Canon EF lens.
- A CCD sensor with a readout mechanism that multiplies electrons after being converted from light. Applications include nighttime surveillance and the capture of astral bodies and nighttime nature scenes.
- The brightness of a star decreases 2.5-times with each 1 magnitude increase.
- Recording of test video footage was made possible through cooperation from ZERO Corporation.
More coming for Cinema EOS?
There have been numerous mentions of a camera coming in under the Canon EOS C100, an EOS C50 if you will. What could be removed from the EOS C100 to make another cinema EOS camera a lot cheaper? Currently a C100 costs about $6500, and we’ve been told numerous times that Canon thinks they’ll need a cheaper camera to get more people into the system and in turn, the upgrade path.
We’ve had two mentions of prototypes existing out in the wild, but no word yet as to whether or not they will become a consumer product.
For me, a dunce of a filmmaker. $6500 is too much money to spend just to show my family bad films on Vimeo. I’d really like a video camera that costs about half that with an EF mount. I could be in the minority on that one, but I much prefer to shoot video with a video camera as opposed to a DSLR.
NAB 2013 April 6 – April 11 – Las Vegas, Nevada
Canon will be announcing new cinema lenses and a new cinema camera for NAB 2013 we are told.
The camera will sit somewhere between the EOS C100 and EOS C300, but will not be a direct replacement for the EOS C100. It will have both a PL and EF mount option. At present, no specifications for the camera have been given. Canon may also show a prototype that would come above the C500, but apparently that has yet to be decided internally.
Lenses, no mention of focal length. One will be a zoom and the other a prime. There is some suggestion both could be “lower quality” version of Canon’s current cine lenses. This is something similar to what Leica is doing with their cinema lens lineup.
No mention of a DSLR being announced for the show. I would expect some goodies for the EOS-1D C to come around NAB in the form of a firmware update. We already know they’ll be adding 25P in 4K, maybe there are a few other things they could add?
Canon EOS-1D C at B&H Photo $11,999
Designed for Film-Style Operation, Canon Cinema Prime Lenses Deliver Exceptional 4K Performance
LAKE SUCCESS, N.Y., January 10, 2013 – Canon U.S.A., Inc., a leader in digital imaging solutions, announces the new CN-E14mm T3.1 L F and CN-E135mm T2.2 L F single-focal-length lenses for large-format single-sensor cameras employing Super 35mm or full frame 35mm imagers. These two new lenses join with Canon’s CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F primes to provide a broad line of five precision-matched, competitively priced EF-mount Cinema prime lenses that provide high optical performance levels and a choice of versatile focal lengths for a wide range of creative shooting choices. All five Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera and EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses.
CN-E14mm T3.1 L F and CN-E135mm T2.2 L F
“Since our introduction to the film and television production industry back in November 2011, we have brought to market five Cinema prime lenses, two top-end Cinema zoom lenses, two compact Cinema zoom lenses, and four professional digital cinematography cameras all within 18 months,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “This is a testament to the Company’s dedication to the needs of the growing and diverse universe of professionals creating 4K, 2K, and HD moving-image content for theatrical, television, and other high-resolution digital production markets. We look forward to continuing to serve these professionals with Canon Cinema EOS products designed to help them achieve their creative imperatives and commercial aspirations.”
All Canon Cinema EOS lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096 x 2160) production standards. Each Canon Cinema lens is equipped with an odd-numbered 11-blade aperture diaphragm, which is ideally suited to achieve creative depth-of-field manipulation and pleasing “bokeh” effects of cinematographic quality. The Canon line of five Cinema prime lenses is precision-matched for consistent and solid optical performance that minimizes focus-induced changes in the angle of view. All feature a full-frame image circle in a lightweight, compact design, and they incorporate proven Canon lens elements designed to fulfill contemporary 4K production standards. All five primes also deliver color tone and balance that matches Canon’s top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses are also water-resistant for severe shooting conditions and deliver the operation and reliability required in professional film-style shooting environments.
All five Canon Cinema primes feature mechanical attributes specifically designed for motion-picture production, as opposed to still photography. These strategically integrated film-style characteristics include 300 degree rotation on the focus ring for precision focus control as well as large, highly visible engraved focus scales for convenient operation. These markings appear on the angled surfaces on both sides of the barrel, making them easy to both read and to adjust the stepless focus and/or aperture settings of the lenses from behind – or from either side – of the camera. Focus markings can be switched from standard labeling to metric, and control rings are engineered to maintain the proper amount of resistance with consistent operating torque and familiar tactile “feedback” for satisfying manual control. All Canon Cinema prime lenses also share the same uniform gear positions, diameters, and rotation angles, as well as front-lens diameters, making them compatible with matte boxes, follow focus gear, marking disks, and other third-party film-industry-standard accessories. Film crews can quickly change lenses without the need for accessory gear-position adjustments or other changes to the rig setup.
The new Canon CN-E14mm T3.1 and CN-E135mm T2.2 Cinema prime lenses – as well as the Canon CN-E24mm T1.5, CN-E50mm T1.3, and CN-E85mm T1.3 primes – are fully compatible with the Canon EOS C500, EOS C300, EOS C100 and EOS-1D C digital cinema cameras. The EF-mount design of all five Canon Cinema prime lenses provides communication with these cameras for such handy features as display of the ƒ number in the electronic viewfinder, recording of focus/zoom position and ƒ number, and Peripheral Light Compensationi for more pleasing effects shots.
The versatility of image-capture options using Canon EOS digital cinema cameras can be further extended with Canon’s Super35mm top-end Cinema zoom lenses (the CN-E14.5-60mm T2.6 wide-angle and the CN-E30-300mm T2.95-3.7 telephoto) and compact Cinema zooms (the CN-E15.5-47mm T2.8 wide-angle and CN-E30-105mm T2.8 telephoto). All four are available in both EF- and PL-mount versions, as are the EOS C500 and EOS C300 cameras. Almost all of Canon’s EF Series photographic lenses can also be used with these Cinema EOS cameras, including Image Stabilized zooms, tilt-shift models, and macro lenses. All of these products are designed to contribute to the continued advancement of tools for visual storytelling and all express Canon’s continuing commitment to cinematic culture.
Pricing and Availability
The CN-E14mm T3.1 L F single-focal-length lens is expected to be available in April 2013 for an estimated retail price of $5,500. The CN-E135mm T2.2 L F single-focal-length lens is expected to be available in May 2013 for an estimated retail price of $5,200.