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Canon’s Full Frame Future [CR2]

Canon’s Full Frame Future [CR2]

By Canon Rumors | June 24, 2015 | Canon DSLR Rumors

There’s a lot of random information out there about what Canon is going to do with it’s three long-in-the-tooth full frame cameras, the EOS 6D, EOS 5D Mark III and EOS-1D X. One of our sources wants to shed a little bit of light on things, but even admits things are very “muddy” at the moment.

EOS 5D Mark IV
This camera’s focus will be high ISO performance over resolution. The camera will use a new DIGIC processor and will share a version of a new flagship AF system. We had heard back in February that an 18mp sensor was in testing in a camera body and that’s what could appear here. Are consumers willing to sacrifice 4mp for a few stops of ISO performance boost? I’m pretty sure they would be. I don’t believe the resolution of the APS-C offerings has any bearing on how the full frame sensor development will play out in the prosumer & professional markets.

4K? It depends on the day and who’s talking. I think it’s safe to say that 4K video recording appearing in the EOS 5D Mark IV is 50/50 at the moment. :)

EOS 6D Mark II
This camera is said to be moving slightly “upmarket”, as it will get a better AF system and a few other consumer features like NFC. We’re also told this camera could have a higher resolution sensor than the EOS 5D Mark IV. The source couldn’t confirm this, but said all signs seemed to point that way. It was suggested that the “consumer” market still cares about resolution and that the EOS 6D Mark II could become the “do everything pretty well” DSLR in the lineup. No resolution number was given, but I can see a 24mp-28mp sensor.

EOS-1D X Mark II
This camera is on its own and the goal is to improve ISO performance as well as “industry leading” dynamic range, we’re apparently going to see some C300 Mark II technology in this camera. It will have a brand new flagship AF system and an increased framerate. 4K video is still a possibility, as no one expects to see a follow-up to the EOS-1D C.

We’re not very close to an announcement for any of these cameras, so it’s very possible there’s a lot of misdirection and false information being floated around internally at Canon. I expect things to start getting a bit clearer towards the end of the summer and into early fall.

Tokina 24-70mm f/2.8 FX Lens Officially Announced & Coming in August

Tokina 24-70mm f/2.8 FX Lens Officially Announced & Coming in August

By Canon Rumors | June 23, 2015 | Third Party Lenses

Kenko Tokina USA, Inc. is excited to announce the new Tokina AT-X 24-70mm F/2.8 PRO FX lens designed for use with Canon and Nikon full-frame sensor DSLR cameras.

Tokina’s latest addition to its family gives full-frame photographers a 24mm wide-angle to 70mm moderate telephoto lens with a fast F/2.8 aperture at an affordable price.

The new groundbreaking proprietary optical design uses three precision molded all-glass aspherical lens elements to achieve excellent contrast, sharpness, and corrects for spherical aberrations. One of these elements is very special and difficult to manufacture. G09, is made from Super-Low Dispersion (SD) glass and is a large sized aspherical element.

These lens elements also yield even illumination across the whole image sensor.

The Tokina 24-70MM lens also uses three SD (super-low Dispersion, “FK01” and FK03”) glass elements in the rear groups to control chromatic aberrations.

All these specialized lens elements work in consort to yield maximum resolution to match the 50-megapixel DSLR cameras entering the market.

The fast constant F/2.8 aperture makes viewing and auto focusing possible in very low light situations while keeping some flexibility for setting the shutter speed.

In addition to excellent optics, the lens incorporates a fast moving SDM (Silent Drive-Module) motor to greatly reduce AF noise making it one of Tokina’s quickest and quietest auto-focusing lenses to date.

Tokina’s exclusive One-touch Focus Clutch Mechanism allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the lens mount for manual focusing. The lens is also designed to stand up to the rigors of daily use by photographers in a wide variety of shooting conditions and environments.

Preorder the Tokina 24-70mm f/2.8 DX Lens $999: B&H Photo | Adorama

Read more…

Venus Optics Announces the Laowa 15mm f/4 Wide-Angle 1:1 Macro Lens, the World’s Widest 1:1 Macro Lens

Venus Optics Announces the Laowa 15mm f/4 Wide-Angle 1:1 Macro Lens, the World’s Widest 1:1 Macro Lens

By Canon Rumors | June 23, 2015 | Third Party Lenses

Anhui China, Jun 12, 2015 – Venus Optics, the Chinese camera lenses manufacturer who had launched the world’s first 2:1 Macro Lens in last Sept, has just released the world’s widest Macro lens for full frame cameras, Laowa 15mm f/4 Wide-Angled 1:1 Macro Lens.

The new Laowa 15mm f/4 1:1 Macro lens is the first lens in the market which posseses a ultra wide angle of view and 1:1 Macro ability. This allows photographers from around the world to start experiencing the rather undeveloped field of ‘Wide Angle Macro Photography’ without using an extension tube. Macro Lenses currently in the market tends to have a mid to long focal length and it limits users to take very close-up shots on the insect or flowers, without showing much of the background details like its habitat or environment.

The new Laowa 15mm f/4 1:1 Macro lens features an ultra wide angle of view of 110 degrees with 1:1 maximum magnification. Photographers can focus very close to the subject and let the foreground dominates in the photo but at the same time, have the background telling viewers about where and how the subject lives. You picture will immdiately become very informative and intriguing.

 

The lens can also serve as an excellent ultra-wide angle lenses with infinity focus for cameras with full frame sensors. A shift mechanism is added at the rear end of the lens with a maximum adjustment of +/- 6mm, which is extremely useful for landscape/architecture photography for distortion correction.

Read more…

Patent: Canon EF-S 20mm f/2.8 STM

Patent: Canon EF-S 20mm f/2.8 STM

By Canon Rumors | June 22, 2015 | Canon Patents

Another lens patent from Canon, this time for an EF-S 20mm f/2.8. Are we going to see a series of inexpensive EF-S primes in the future? This is pretty close to the 24mm f/2.8 STM pancake though.

Patent Publication No. 2015-111192 (Google Translated)

  • Published 2015.6.18
  • Filing date 2013.12.6

Example 3

  • Focal length 20.65mm
  • Fno. 2.88
  • Half angle of view ω = 33.48 °
  • Image height Y = 13.66mm
  • Overall length of the lens 64.00mm
  • BF 35.30mm

Canon patents

  • Negative ShiboTadashi
  • The pay-out the entire

We’ve changed how we source things, the source link is at the bottom right of this post if you want to read more.

Redrock Micro talks EOS 5D Mark II & Mad Max

Redrock Micro talks EOS 5D Mark II & Mad Max

By Canon Rumors | June 20, 2015 | Canon Videography

Redrock Micro has posted an article talking about the use of the EOS 5D Mark II in one of the summer’s best visual treats, George Miller’s Mad Max. If you haven’t seen the movie, go now!

Ten EOS 5D Mark II camera bodies were used by the stunt/action team and the lens of choice was the EF 16-35mm f/2.8L II. Redrock Micro were the exclusive rig for all the EOS 5D Mark IIs used in the production

For the rigging, we definitely see action cam style – the DSLR camera ops were well prepared to strap in to cars, on towers, pretty much anywhere they wanted a great action insert or angle of view that would otherwise be impractical or too time consuming to setup with an A or B camera (ARRI Alexa with those huge Panavision primo zooms). Rigs from Redrock Micro were exclusively used with the canon 5D MKII to fit this style, each slightly customized to each operator’s liking.

Why the EOS 5D Mark II?

A number of Canon 5Ds were used as crash cams during the action sequences – as “semi-disposable stunt cameras”. The DSLR was chosen as a proven work-horse crash-cam even though it was released way back in 2008. The 5Ds provide extra cut-away point of view angles during action sequences – the cutaways are so short you don’t notice the changes in image quality

Read the full article | Redrock Micro Fury Rig

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