EF & PL Mount Cameras
I’ve received more contact that EF and PL mount camcorders are coming from Canon over the next 6 months or so. We’d see the EF mount camera most likely before the end of 2011 and the higher end PL mount version sometime before Q2 in 2012.
The source said the EF mount camera looks to be “affordable” and would be extremely popular, the PL mount camera would be a higher end professional solution.
No mention of sensor size or specs on either camera. That is usually a good sign this far ahead of any sort of announcement.
Take any rumor of an EF mount video camera with a large grain of salt. This is a product that does not exist yet and has a potential to be a wishlist product.
Vincent Laforet is at it again
The angle of video of a Canon 600mm f4 EF Lens with a 2X converter on a RED Epic, is roughly one degree. (1 Degree, 45 arcminutes horizontally to be exact.)
The focal length in terms of 35mm is more than 3400mm – not too shabby when you consider this was shot at 4K, 120fps in full RAW on the Epic.
So who cares? Is this just a case of “just because you can…”
The yet to be released EF mount for the RED system fully supports IS, autofocus, digital aperture control, touch to focus, touch to rack focus and distance readout. All you need to convert your RED to EF is a Torx screwdriver.
Vincent shot this film at Mono Lake 45 minutes after sunset until it was dark. He used an ISO range of 800 to 2000.
Visit the Vincent Laforet Blog to see more images of the setup.
From NAB 2011
Apple took some time to show off the next Final Cut Pro in Las Vegas. It will be dubbed Final Cut Pro X.
Below is a set of features as published by macrumors.com & a Photography Bay play by play. Links to other coverage throughout.
- Dynamically handle massive quantities of media, resolution independent playback. full color managed based on ColorSync. Grand Central Dispatch, using all cores and background rendering (via @reximilian, and @robimbs)
- Allows you to edit as you are importing, you don’t have to wait to ingest. (via robimbs)
- Background rendering is built in. No more “writing video” dialog box (via @dbax)
- Content auto analysis, meaning it can auto detect most media and when it imports can auto image stabilize. On import it can: People Detection, Shot Detection, Auto Color Balance, Audio Cleanup (via @rexmilian)
- Inline Precision Editor: click on an edit and it shows unused footage on both clips of the edit to help you trim (@rexmilian)
- the Auto Analyze will make Search Folders that know what has people in it, or CloseUps or Wide Shots.
- Tagging clips let’s you tag only specific parts of the clip to tage with keyword or favorite
- Timeline Index: list of every clip on your timeline in order and let’s you search by name or tag (via @reximilian)
- Automatically analysis audio and can sync audio with similar audio. Simple audio keyframing, tweaking the audio is much easier. Trimming clips, the Magnetic Timeline makes complicated edits easier.
- Instant render in the background all the time, does not at all effect editing. (@robimbs)
- Built in color matching. Match clip colors from two different cams very fast. That got BIG applause. (@comebackshane)
- Automatic audio clean up on the way. Options to rid hum, rumble, etc. on the way in. Range-based keywording. You can select ranges inside your clip and apply keywords to those ranges instead of just keywording the clip. No subclipping necessary. Smart collections: Categorizes things like media types (audio, stills), how many people are in shots and how those shots are framed. Smart collections looks very iMovie-ish. (via PhotographyBay)
- Clip Connections: Audio and Video and be locked together and be one clip on a timeline (no longer a V1 and A1 A2 track). Can lock audio clips with specific video clip, so if moved on timeline they stay synched (via @reximilian)
- “Compound Clips”: collapse chunks of media into a single clip on the timeline. How nesting always should have worked. (via @fcpsupermeet).
- Shipping in June on App Store. $299.
- No mention of Final Cut Studio or Final Cut Express.
A couple of knowledgeable people wrote in and basically said all of this is poppycock. As with most highly detailed rumors, this one appears to be a rehash of old rumor wishlists.
Fun to talk about though!
Seriously though, this is where my lack of pro video knowledge rears its ugly head. I’ll figure something out in regards to video.
Pretty detailed stuff
I received a pretty detailed rumor from an anonymous person. Usually when something is very detailed, it tends not to be true. However, I sent this information to a video guy and he gave me his opinion on what we’ve got here.
The rumor is a direct copy/paste from the email I received. Canon is apparently testing these 3 video cameras. The opinion of my friend is in italics.
1. Based upon the APS-C chip size (new sensorchip design) this new cam comes in a body which roughly looks like the XLH1 series. EF lens mount. Problems with moire are solved. Video looks much better than 7d vids, about 12 stops of dynamic range, clean pictures up to ISO 3200. 3 ND filters on board. 1920x1080p up to 60fps over HD-SDI out. 2K and 4K output possible, but not in the beginning, will be sold as additional hardwareupgrade. Codec: 4:2:2 50 MBit MPEG-2 Full HD . CF-Card slot and optional SD-Proxy. Pricerange $6-8K. Release scheduled for june/july 2011.
This sounds very much like a competitor to the panasonic af-100. All plausible specs to me based on the fact that the sensor they showed at the Canon EXPO was an aps-c sensor doing 4k video. I wouldn’t doubt that Canon is working on a video camera body that would challenge both af100 and the Red (which is where this rumor seems to be going).
2. Maybe most interesting to know, a revolutionary new 3-chip design (fullframe chips, new sensorchip design) is being tested. Absolutely stunning image quality in both laboratory and field tests (snowy + green nature); crisp sharp + most neutral colors with many distinguishable snow-whites, no clipped highlights even without ND’s (no build in ND). Up to about 20 stops of dynamic range possible (14-20 switchable + shiftable and special highlights preserving function). 2K and 4K raw output. over dual HD-SDI. Chrystal clear images up to about ISO 6000. This cam (intern codename, non official: “Yamato”) will sell for $20+K. Body design not finished yet, but will offer modular options.
20 stops of dynamic range is over the top. I don’t doubt that Canon’s working on some chip advances to get there, they’d be silly not to be trying to expand dynamic range! But 20? Most people put film at 15-16 stops. It almost sounds like they’re embedding some processing to prevent clipping of whites but I don’t know enough to understand. Though using different processing chips might explain that. Quite the rumor you’ve got there. I would also suspect that something like what is being talked about here might be out 2 or so years… my suspicion is that is still a testing platform for the future.
3. Same 3-chip design as Yamato but with smaller APS-C chip size in testing, but not finished yet. No known pricerange yet.
With the number of sensors they showed off a the Expo – one of them being 120m pixel sensor on an aps-c chip, I wouldn’t really put some of this out of the realm of the future.
Take this with a grain of salt, I expect some follow-up contact from this post.
From Philip Bloom
Videographer Philip Bloom is at the Canon EXPO and snapping away.
His blog shows off the 4K concept video camera from Canon.
Some Info (Image from Philip Bloom)
Check out Philip’s full reports as they unfold.
Received this spec list in regards to a video camera with an EF mount.
- Unconventional case, more like a Hasselblad.
- Alloy heatsink for extended shoot times and lower heat related picture noise.
- FF 4k sensor, no line skipping and much reduced jello effect
- ISO 100-1600
- Pellicle Mirror however it can be flipped up if a OVF isn’t required to regain the lost 2/3 stop.
- EF fitment
- AF when pellicle mirror is down
- Digital Follow focus to control lenses electronically
- Twin CF slots
- Add on module with SSD drive for extended shooting, like a virtual film mag.
- 4:4:4 SDI out
- HDMI out
- 3D LUT capacity
This is currently a “skunk works project that was initiated with the 5D video explosion. Designed to be a base body, leveraging the existing EF glass. 3rd parties left to develop rails, matte boxes etc.”
LAKE SUCCESS, N.Y., April 7, 2010 – Canon U.S.A., Inc., a leader in digital imaging, today announces the Canon XF305 and XF300 Professional Camcorders. Both new models employ an MPEG-2 4:2:2 50Mbps codec – Canon XF Codec – for capturing and recording native 1920 x 1080 video onto affordable, universally available Compact Flash (CF) cards. Uniting video, audio and metadata into a single file, the Canon XF305 and XF300 use an MXF (Material eXchange Format) File Wrapper, a widely supported open source format, to maximize compatibility with existing industry infrastructure and non-linear editing (NLE)systems. Priced under $8,000 per model, the Canon XF305 and XF300 are engineered for multiple production applications including broadcast news, documentary and independent filmmaking and event videography. Canon will be demonstrating a variety of professional applications for the Canon XF305 and XF300 at the Company’s booth# C4325 at the 2010 National Association of Broadcasters (NAB) Show in the Las Vegas Convention Center.
The Canon XF305 and XF300 Professional Camcorders include a Genuine Canon 18x HD L-series lens providing documentary filmmakers and news camera operators with the focal-range versatility required in the field. Designed with input from professional users, each model includes three Canon developed and designed native 1920 x 1080 CMOS image sensors, and the new Canon XF Codec for extreme color detail required for accurate chroma-keying, color-grading and compositing for digital filmmaking. For finer transitions in tone and color, 4:2:2 color sampling offers twice the color resolution of HDV and other 4:2:0 formats. In addition, Canon’s XF305 model features industry- standard HD-SDI output, genlock, and SMPTE time code (in/out) terminals for multi-camera or 3-D productions.
Yeah, this is oldish news, I was super busy today. :)
A new remote(s) for Hybrid DSLRs is apparently going to be available this summer.
It’s definitely a needed accessory for a lot of folks.