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Messages - Canon Rumors
Possibly 3 announcements tonight for the cinema/video line.
A vague report
We’re told Canon is going to announce something tonight for the opening of NAB 2013.
We’ve heard in the past that an entry level Cinema EOS camera could be coming, though a confirmation of such never came.
We could also just get some firmware or development announcements. I do not expect an EOS DSLR.
We’ll post as we hear more…
We’re told Canon is holding press events on Tuesday, April 23, 2013. We have not seen any official invites, but this does come from a known source. I will post any invites I receive here to confirm.
No mention of what products to expect, though I would think an announcement for the EOS 70D must be close.
Pay close attention to the new sensor in the Canon EOS SL1 as far as performance goes. We’re told this sensor will appear in the EOS 70D, but not the EOS 7D Mark II.
Vincent Laforet began hyping this product this week, and here it is.
Says Vincent about the MōVI
“….the beauty of this device is how quickly you can also make more simple shots. A push or slide is done in seconds and near perfectly. You can add a tilt or pan to that too to make it even fancier if you’d like with little effort. And the speed at which you can work is hard for many producers (including a friend and long time producer I worked with on a commercial this week… until he sees the results and how quickly you can get them.) Then you run down stairs, walk across a busy intersection, or ride in a vehicle and your head will certainly spin…”
About the MōVI M10 (From Freefly Systems)
A handheld 3-axis digital stabilized camera gimbal, so advanced, it redefines the possibilities for camera movement. The heart of the gimbal is Freefly’s proprietary high performance IMU and brushless direct drive system. The gimbal is 100% custom designed in-house by our engineering team. No compromises were made to accommodate off-the-shelf brushless motors, motor drives or IMUs. Creating the gimbal from scratch allowed Freefly to precisely execute our vision for the next generation of stabilized camera gimbals. In creating this camera gimbal, we aim to empower a new era of stabilized cinematography. Freefly MōVI – “The New Moving Picture.”
MōVI in Action
Below Vincent Laforet and Freefly systems talk about the advantages of the new stabilizer. In practice it looks extremely cool and the results seem to speak for themselves. The entry level M5 is $7,500 and the mid level M10 is $15,000.
More coverage can be found at Planet5D. Check it out here.
The new Tamron
The new Tamron 70-200 f/2.8 VC is now in stock at B&H Photo. It retails for about $1000 less than the Canon equivalent.
Also in stock is the new Tamron 90mm f/2.8 VC macro, it retails for a lot less than the Canon version too.
Apparently Vincent Laforet is going to share a product shortly that he calls a “game changer” for the video shooter. He swears it’s not a camera.
In case you didn’t know, Vincent Laforet did the “Reverie” video that changed the DSLR world when the 5D Mark II launched.
Says Vincent… “I’m predicting that this device will follow a very similar path and will stir things up (in a positive way) in our industry. I know it has already changed the way I shoot. And while it will be more expensive than the Canon 5D MKII was, its price will pale in comparison to the current tools that it will come to compliment or perhaps even replace.”
I guess we’re going to know shortly.
We received a report today that issues have been found with the “final test” version of the new firmware for the EOS-1D C.
We’re told the issue is compatibility issues with HDMI external recorders. Some users have reported that there were corrupted frames when recording an uncompressed signal from EOS-1D C’s HDMI port.
No word how much of the delay their could possibly. Though the source did speculate late April or early May is a good possibility now.
EOS Bodies / Canon U.S.A. Announces Free Firmware And Application Software Upgrades For Select Cinema EOS System Cameras« on: April 03, 2013, 11:16:48 AM »
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.
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.
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.
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.
Lenses / Canon Inc. Announces Development Of 35mm Cinema Prime Lens, Sixth In A Series Of Compact, Lightweight, Precision-Matched Lenses« on: April 03, 2013, 11:15:47 AM »
MELVILLE, N.Y., April 3, 2013 – Canon Inc., the parent company of Canon U.S.A., Inc., a leader in digital imaging solutions, has announced the development of a 35mm cinema prime lens for large-format single-sensor cameras employing Super 35mm, full-frame 35mm, and APS-C size imagers. The 35mm cinema prime lens will look to join Canon’s line of 14mm, 24mm, 50mm, 85mm, and 135mm EF-mount Cinema prime lenses. The 35mm cinema lens in development will look to become the sixth in the line, filling a strategic optical need between Canon’s 24mm and 50mm lens offerings. As with Canon’s precision-matched, competitively priced CN-E prime lenses, the 35mm lens under development will look to deliver 4K optical performance and inherit the professional operability of the existing CN-E prime lens line.
Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which also include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera, EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses. A development sample of the 35mm cinema lens will be on display in the Canon booth #C4325 during the 2013 NAB Show in Las Vegas, NV, April 8-11, 2013, and the lens itself is currently expected to officially launch sometime this year.
“Canon is committed to supporting cinematic culture and the continued advancement of tools for visual storytelling at all levels,” affirmed Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “During the past 18 months, Canon has brought our Cinema EOS product line to market, and in that time we have introduced HD, 2K, and 4K cameras, lenses and workflow solutions, as well as structured a comprehensive service and support network for professionals in the theatrical motion picture and television markets to enable customers to create and deliver exceptional imaging content and cinematic brilliance.”
Each current Canon Cinema lens is equipped with an 11-blade aperture diaphragm, which is ideally suited to help achieve creative depth-of-field manipulation and pleasing “bokeh” effects. The Canon line of Cinema prime lenses is precision-matched for consistent and solid optical performance throughout the line, and the inner focus mechanism helps minimize 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 Canon Cinema primes also deliver color tone and balance that matches Canon’s top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses deliver the operation and reliability required in professional film-style shooting environments.
All Canon Cinema prime lenses 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 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 f number, and, later this year, Peripheral Light Compensationi.
Strategically integrated motion-picture style mechanical attributes (as opposed to those for still photography lenses) are also an important design feature of Canon’s series of Cinema prime lenses. These 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 read and to adjust the “stepless” focus and/or aperture settings of the lenses from behind or from either side of the camera for camera operators or focus pullers. 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 of Canon’s current Cinema prime lenses also share the same uniform gear positions, diameters, and rotation angles, as well as front-lens diameters, making them compatible with a wide variety of 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 versatility of image-capture options using Canon EOS digital cinema cameras can be further extended with Canon’s 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 Zoom lenses (the CN-E15.5-47mm T2.8 wide-angle and CN-E30-105mm T2.8 telephoto). All four lenses are available in both EF- and PL-mount versions, and the mount can be switched at a Canon service facility in the United States for added flexibility. Almost all of Canon’s EF Series photographic lenses can also be used with these Cinema EOS cameras, including Image Stabilized zoom, tilt-shift, and macro lenses.
The scheduled release of the EOS-1D C firmware for April is still probable.
I received a screenshot of the firmware being tested a few days and just got around to it today. The screenshot shows all the various frame rates available to you for the EOS-1D C. The biggest addition is the ability to record in 25p at 4K resolution.
We’re told it’s going to be available after NAB. Speaking of, we’ll be in Las Vegas next week for NAB checking out the latest in video gear.
Lake Success, N.Y., April 1, 2013 - Canon U.S.A., Inc., a leader in digital imaging, today introduced a revolutionary new camera that finally addresses the needs of left-handed photographers worldwide: the Canon EOS 7D L Digital SLR camera. Based on the highly successful EOS 7D, the EOS 7D L features a reversed ergonomic design which left-handed photographers will fall in love with. Whether it’s shooting at eight frames per second (fps), focusing with Zone AF mode or recording 24p Full HD video, the EOS 7D L DSLR camera satisfies the most rigorous professional requirements with durability, flexibility, customizable controls and impressive image quality.
To support production of the EOS 7D L, state-of-the-art manufacturing lines developed for the classic EOS 7D were reproduced in mirrored orientation. “Canon has been a world leader in innovation for over 65 years – and the EOS 7D L is another innovative product that we are proud to have associated with that heritage,” says Yuchira Izukio, executive vice president, CMOS Imaging Development, Canon U.S.A.
Canon EOS 7D L Features:
- Reversed ergonomics tailored to left-handed photographers
- 18-megapixel Canon CMOS sensor with Dual DIGIC 4 Imaging Processors
- Advanced 19-point customizable Autofocus system
- iFCL Metering System
- 8 frames per second (fps) burst rate
- Full HD video recording (24p/25p/30p)
- Manual adjustment of audio levels
- ISO levels 100-6400 (expandable to 12,800)
Pricing and Availability The Canon EOS 7D L Digital SLR camera is scheduled to be delivered to U.S. dealers at the end of May, and will be sold in a body-only configuration at an estimated retail price of $1,499.00*. It will also be offered in a kit version with Canon’s EF-S 15-85mm f/3.5-5.6 IS USM zoom lens at an estimated retail price of $1,769.00*.
* Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
Happy April Fools Day!