Archive for: cinema eos

Canon Announces CN20x50 Cine-Servo Ultra Zoom Lens

Canon Announces CN20x50 Cine-Servo Ultra Zoom Lens

Canon introduces new 4K cine-servo, ultra-telephoto lens with world’s longest focal length

United Kingdom, Republic of Ireland, 16 October 2014 – Canon today bolsters its cine servo lens line-up with the new CN20x50 – a high performance, ultra-telephoto zoom lens for sport and nature TV production. Leveraging Canon’s long-standing and unparalleled expertise in lens design, the CN20x50 delivers superb image quality and exceptional creative control, and is the first lens of its type to combine a built-in 1.5x extender, class-leading 20x magnification and a removable servo drive, with a native 50-1000mm focal range that expands to a huge 75-1500mm.

Designed to be a portable solution for broadcast productions using super 35mm cameras – whether HD, UHD or 4K – the CN20x50 is a tool of unprecedented quality, versatility and usability. Featuring a completely removable updated servo drive unit that enables an agile shooting style that’s difficult to achieve with typical cine lenses, the new cine-servo lens helps to meet growing demands for Ultra High Definition (UHD) resolution sport and nature television production.

Versatile and reliable
With productions today expected to shoot in demanding and unpredictable environments, a huge level of lens flexibility is required. For wildlife television, operators typically work in hostile and sensitive conditions which often necessitate shooting from extremely long distances, while sports productions typically require extremely high resolution for close-to-the-action stadium work. In both situations, operators require fast, reactive positional changes, shooting flexibility and nimble hardware that allow them to respond to changes in the scene.

Weighing just 6.6kg, the CN20x50 is conveniently portable and lightweight and offers an unrivalled focal length and zooming capabilities for its class. It enables sport and documentary crews to capture footage at a distance, while maintaining the highest quality throughout the zoom range. The lens’s huge zoom range also significantly reduces the volume of hardware that crews are required to carry, offering a superb solution for location shoots.

The latest in Canon’s cine-servo lens line-up, the CN20x50 is also user-friendly and robust. The design has been developed to ensure high levels of ruggedness and reliability, even in unforgiving broadcast environments – combining the finest quality optics with a weather-and-shock-proof construction that makes it suitable for use in the most hostile conditions when on location, to the same level as conventional Canon broadcast lenses.

Flexible operability
Compatible with a wide range of cameras, the CN20x50 also supports communication between lens and camera and will be available in both EF-mount and PL-mount variants. The EF-mount version utilises Canon’s own system, while the PL-mount variant supports Cooke’s /i Technology standard. Both models feature a 12-pin serial connection for integration with typical broadcast equipment.

The focus ring rotation is 180 degrees, balancing the accuracy required for 4K imaging with the speed needed for broadcast use. In scenarios where every second counts – and operators only have one opportunity to capture a shot – high speed zoom, iris and simple focusing operation mean that even rapidly changing scenes can be captured with ease and accuracy.

The lens’ design supports a range of cinema and broadcast accessories including operational zoom and focus controls, matte boxes and 0.8- and 0.5-type gear module accessories such as follow focus units, to provide a truly versatile solution.

CN20x50 key benefits:

  • Ultra-telephoto lens with class-leading focal length
  • Capture every detail in sports and nature TV broadcast
  • Achieve stunning shots in outstanding 4K quality
  • Enjoy a wide variety of shooting and expression
  • Portable and durable with intuitive operation

Source: [TDP] & [CPN]

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The Next Cinema EOS Camera Will Be….. [CR2]

The Next Cinema EOS Camera Will Be….. [CR2]

We’re told that the next Cinema EOS camera to be released will be a replacement to the EOS C100 and not the C300 or C500. No details were given as to when the camera would be released or any specifications, but I would assume it’ll come before NAB 2015 in April.

Saving a new C300 or C500 for that show would make marketing sense. Although, we do hear that Canon has plans for an over the shoulder style Cinema EOS camera, and perhaps that could be shown at NAB.

More to come…

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Patent: Improved Cooling for DSLRs

Canon has filed a patent that uses more of the camera as a heatsink to cool the electronics and most likely the sensor. I think this would be especially useful for video applications. 4K perhaps?

Patent Publication No. 2014-171141 (Google Translated)

  • Published Date 2014.9.18
  • Filing date 2013.3.5

coolingpatent

Canon patents

  • An electric path for heat imaging devices , electric heating member group, member boric mount ring portion (heat sink) heat to low thermal conductivity of the resin, and the order of the mount ring

Source: [EG]

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A Surprise Cinema EOS Announcement for Photokina? [CR1]

A Surprise Cinema EOS Announcement for Photokina? [CR1]

I received a vague hint that Canon could be making a surprise Cinema EOS announcement for Photokina. There was no mention of what it could be, or whether or not it was a product announcement or a development announcement.

I receive these sorts of “nudges” every so often and they usually end up being true, but I have zero proof that such a product is coming. The videographers may want to pay  a little attention to Photokina.

As always, I hope to hear some more over the weekend. This post is CR1, so please treat it as such.

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New Firmware Upgrades for Cinema EOS and 4K display

New Firmware Upgrades for Cinema EOS and 4K display

Canon has announced details of firmware upgrades for its EOS C500 and EOS C300 Digital Cinema Cameras, DP-V3010 4K reference display and Cinema RAW Development (CRD) software. The firmware upgrades, scheduled for release as free downloads from Canon Europe in Q4 2014, have been designed to better integrate acquisition and management of 4K footage into every workflow situation…

When Canon first entered the digital cinema market, it did so with a firm commitment to fully support every aspect of filmmaking. The latest firmware upgrades provide more compelling reasons for filmmakers to enjoy the significant advantages offered by the Cinema EOS system.

SUPPORT FOR BT.2020 COLOUR SPACE
The EOS C500 will be able to, thanks to new firmware, deliver BT.2020-defined Ultra High Definition (UHD) video.
Since launch, Canon’s Cinema EOS Digital Cinema Cameras and lenses have earned widespread praise and the C500 and C500 PL, which capture 4K video in stunning detail, can now be enhanced even further with a new firmware upgrade offering support for BT.2020, the recently-defined colour space for Ultra High Definition (UHD) video, the next-generation broadcast standard.

Supporting end-to-end BT.2020 workflow, Canon’s DP-V3010 4K professional reference display will also be upgraded to support content shot in BT.2020. BT.2020 input signals will be mapped to the native colour space of the DP-V3010 for output, implementing the latest derivation of luminance and colour-difference signal specified by the International Telecommunications Union, to ensure that images are displayed with the widest possible colour gamut and the greatest possible accuracy.

Canon EOS C300 at B&H Photo | Canon EOS C500 at B&H Photo

DP-V3010 – THE SUPERIOR 4K REFERENCE DISPLAY
Since the DP-V3010 was launched in January 2014, it has won critical praise for its exceptional colour accuracy and high image quality. Continuous feedback from users and industry professionals has resulted in this firmware upgrade. In addition to BT.2020 support, the ACESproxy transfer standard1 advocated by the Academy of Motion Picture Arts and Sciences will become an option following the update, enabling streamlined colour grading on set and in post-production.

The DP-V3010 4K reference display has received a significant firmware upgrade to allow for new inputs and signal formats as well as BT.2020 and ACESproxy modes.
The new firmware will also provide an output solution for footage shot using the Cinema Gamut and DCI-P3+ colour spaces available in EOS C500, simplifying monitoring and post-production work. Footage can be displayed using either DCI-P3 or BT.709, as the project requires, with optimised conversion occurring in the display. Further support added includes YCbCr 4:4:4 luminance and chroma sampling used in digital cinema production, while a new peaking function displays a colour outline around subjects in focus making it easier to judge a point of focus for a shot.

The update makes the DP-V3010 the first2 4K professional display to support the 48 frames-per-second digital cinema frame rate increasingly used by professionals in the industry.

DP-V3010 – KEY IMPROVEMENTS
The DP-V3010 will benefit from a variety of improvements thanks to the forthcoming firmware update, including BT.2020 and ACESproxy modes. The improvements include:

  • BT.2020, DCI-P3+ and Canon Log to DCI 1.0 gamma conversion modes
  • New colour space transforms
  • Support for new signal formats
  • Gain RGB and Bias RGB colour temperature settings
  • Peaking function
  • Automatic 3G-SDI and HD-SDI selection
  • Selection of OSD display position
  • New interface options
  • Delete LUT function
  • PsF conversion for signals with no payload
  • IMPROVEMENTS FOR CANON RAW DEVELOPMENT (CRD) SOFTWARE
  • Canon is improving on-set workflow to make 4K RAW production a more cost-effective proposition and at the heart of this is the continued enhancement of its Canon RAW Development (CRD) software, which will be upgraded to version 1.3 in Q4 2014.

CRD v1.3 will provide a colour space transform function to enable review of ‘developed’ 4K footage in the industry-standard colour spaces BT.709 and DCI-P3.

CRD v1.3 will also include support for Edit Decision List (EDL) files for the first time, helping to streamline RAW workflow. Hence it will be possible to complete an offline edit using HD proxy files (recorded to CF card) and use the resulting EDL file to determine which files should be developed by the CRD software. This means that only the required content will be developed – saving time and money.

CANON RAW DEVELOPMENT AND INTEL GRAPHICS
Furthermore, CRD v1.3 will also benefit from a collaboration with Intel, first announced in April 2014, that will help to make shooting in 4K RAW a simpler proposition. The upgrade will offer improved performance thanks to the Intel® Integrated Native Developer Experience RAW Media Accelerator, enabling fast de-bayering and drop-free playback of the resulting 4K footage (up to 24fps only) when using a laptop equipped with Intel ® Iris™ Pro Graphics. This solution reduces the cost and footprint of the necessary computer hardware and saves time (and budget) on set. With suitable software on a laptop this solution means it will be possible to edit, develop, play back and output 4K RAW footage using a single suitably specified laptop – thus providing a complete mobile RAW workflow.

C500 AND C300 – IMPROVED OPERABILITY WHEN SETTING COLOUR TEMPERATURE OF WHITE BALANCE
The new firmware upgrade also includes a useful feature for users of the EOS C500 and EOS C300 cameras, allowing users to easily set colour temperature values using the camera’s FUNC button.

FIND OUT MORE
Canon will also be showcasing the advantages offered by the new firmware at IBC 2014 (the International Broadcasting Convention), which will take place at the RAI conference and convention centre in Amsterdam, the Netherlands, from 12-16 September 2014.

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What’s Next for Cinema EOS?

What’s Next for Cinema EOS?

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

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Canon To Exhibit Latest Digital Cinema Technologies At The 2014 Cine Gear Expo In Los Angeles

Canon To Exhibit Latest Digital Cinema Technologies At The 2014 Cine Gear Expo In Los Angeles

Highlights Include Demonstrations of the New CINE-SERVO Zoom Lens and DP-V3010 4K Reference Display, and In-Depth Seminars and Workshops
 
MELVILLE, N.Y., May 29, 2014 – Canon U.S.A., Inc., a leader in digital imaging solutions, will showcase its full line of professional motion picture equipment at the 2014 Cine Gear Expo in Los Angeles, CA from June 6-7, 2014. At Booth 12, Canon will offer visitors the opportunity to demo Canon Cinema EOS and DSLR cameras, Canon HD Video Camcorders, and Canon optics, including the new CINE-SERVO 17-120mm T2.95 zoom lens. Canon will also exhibit cinema workflow solutions including the EOS C300 and EOS C100 Digital Cinema Cameras featuring the Dual Pixel CMOS AF Feature Upgrade, new XF205 and XF200 Professional Camcorders, and the DP-V3010 4K Reference Display, now available for purchase.
 
Industry Seminars
Canon will host three informative seminars featuring renowned cinematographers and industry leaders, who will showcase their work created using Canon equipment, while sharing their best practices and real-world insights into the art and craft of cinematography.

 
The seminar schedule is as follows:
 
Friday, June 6th
5:30pm – 6:30pm | Paramount Theatre (5555 Melrose Ave., Hollywood, CA 90038)
4K, 2K, or HD: Leading Cinematographers Try to Resolve the Resolution Debate
Dallas Sterling (Higher Power)
Shane Hurlbut, ASC (Need for Speed)
Steven Poster, ASC (Amityville: The Lost Tapes)
Sam Nicholson, ASC (Various VFX work)
 
Saturday, June 7th
12:45pm – 1:45pm | Paramount Theatre (5555 Melrose Ave., Hollywood, CA 90038)
Let’s Talk Docs: Non-fiction Cinematographers Share Stories from the Frontline
Rick Rowley (Years of Living Dangerously
Nick Higgins (The Crash Reel)
Jerry Ricciotti (VICE)
Nicola Marsh (20 Feet from Stardom)
4:30pm – 5:30pm | Paramount Theatre (5555 Melrose Ave., Hollywood, CA 90038)

Building Your Camera Kit: Experts Break Down Their Must-Have Tools
Zoran Veselic (Human Voice)
Alan Newcomb (Tusk)
Rachel Morrison (Gap commercials)
Suny Behar (HBO camera test)
 
Canon Live Learning Workshops
Canon Live Learning (CLL) will be hosting two workshops at the Canon Hollywood Professional Technology and Support Center for those who would like to learn more about the Cinema EOS Dual Pixel CMOS Autofocus feature upgrade and high ISO shooting.
 
Canon Technical Advisor Brent Ramsey and Cinema EOS Pro Market Representatives will be on hand to answer questions and demonstrate the Dual Pixel CMOS AF upgrade and showcase the capabilities of high ISO shooting when capturing images in near dark situations. Dual Pixel CMOS AF technology was originally introduced in the EOS 70D DSLR, and now, Cinema EOS users will have the opportunity to take advantage of this new technology in both the EOS C100 and EOS C300 Cinema Cameras, which significantly improves focus acquisition performance. Developed with the single-operator in mind, Dual Pixel CMOS AF delivers a smooth, continuous autofocus without excessive searching or blurring, greatly enhancing the quality of “live” focus transitions.
 
The workshop schedule is as follows:
 
Friday, June 6th
12:00pm – 2:00pm | Canon Hollywood Technology and Support Center (6060 Sunset Blvd., Los Angeles, CA 90028)
A limited number of Canon U.S.A. Factory Service Clean and Check coupons will be given out on a first come, first served basis.
 
Saturday, June 7th
8:30am – 10:00am | Canon Hollywood Technology and Support Center (6060 Sunset Blvd., Los Angeles, CA 90028)
A limited number of Canon U.S.A. Factory Service Clean and Check coupons will be given out on a first come, first served basis.
 
Camera Giveaway
During Cine Gear Expo, visitors to the Canon booth can enter for a chance to win one of two prizes: a Canon EOS 5D Mark III Digital SLR Camera (retail price: $3,399.00) or a VIXIA mini X camcorder (retail price: $399.99). Two winners will be selected and notified of their prize after the show.
 
The 2014 Cine Gear Expo Los Angeles is held from Thursday, June 5th through Sunday, June 8th at The Studios at Paramount. Registration is free online until May 31, 2014 at 12am PST. To register, visit:http://www.cinegearexpo.com/category/register/.

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Cine Gear Expo 2014 in Los Angeles

Cine Gear Expo 2014 in Los Angeles

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

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Canon USA Announces EOS C300 Autofocus Upgrade Availability

Canon USA Announces EOS C300 Autofocus Upgrade Availability

EOS C300 Feature Upgrade offering enhanced autofocusing capability is now available.

Details
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.

Support
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 UpgradeCanon Cinema EOS C300 at B&H Photo

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CHICAGOLAND, DEATH ROW STORIES, and MORGAN SPURLOCK: INSIDE MAN Captured On Canon Cinema EOS Digital Cameras and Lenses

CHICAGOLAND, DEATH ROW STORIES, and MORGAN SPURLOCK: INSIDE MAN Captured On Canon Cinema EOS Digital Cameras and Lenses

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.”

CHICAGOLAND

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/

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