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    Canon Cinema EOS Cameras Coming in 2023 [CR3]

    By 35 Comments3 Mins Read Canon Cinema EOS Rumors
    cinemaeosrandom01 728x364 - Canon Cinema EOS Cameras Coming in 2023 [CR3]

    It looks like Canon is finally going to be updating some of the Cinema EOS lineup in 2023, we think a lot of products have been delayed and reworked over the last 12-18 months. It looks like Canon will make a splash at NAB in April in Las Vegas.

    We are likely to see a replacement for the Canon Cinema EOS C200 ahead of NAB, and a new C700 series camera ahead of IBC in September.

    The Cinema EOS C200 Mark II is rumored to take on a different form factor and slot between the Canon Cinema EOS C70 and Canon Cinema EOS C300 Mark III. The naming of the camera is not confirmed, but we don't see the “C200” name going away. Some product differentiation in form-factor is likely a good idea.

    Canon Cinema EOS C200 Mark II

    • Same Super 35 4K DGO sensor as the C70 / C300 Mark III
    • RF mount
    • 4K up to 120 frames
    • Cinema RAW Light, XF-AVC and MP4 recording options
    • 2x SD UHS-II V90 media slots
    • A modular box design, somewhat similar of the Panasonic BS1H camera
    • HDMI Type A and 12G-SDI outputs
    • The multi-function hot shoe is included for an external XLR module

    Canon Cinema EOS C700 Mark II

    • User swappable sensors with two offerings at launch: a Super 35 5K Global Shutter sensor and a Full Frame 8K DGO Rolling Shutter sensor
    • Both sensor blocks are equipped with a direct RF mount, which can be topped by an EF or LPL mount without the need to remove the RF mount (the whole mount can be assembled on top of the RF mount and mounted to the camera, like Sony did with the VENICE 2)
    • Introduction of two new gamma curves: Canon Log 4, designed for HDR productions; and Wide DR Cine, designed for cinematic colors straight out of camera
    • 2x CFExpress Type B cards and 1x SD card media slots
    • This will be the most CODEC heavy from Canon: XF-AVC, ProRes and Cinema RAW Light can be recorded internally; BRAW and ProRes RAW externally with the Blackmagic VideoAssist and Atomos Ninja+; Cinema RAW with the Codex CDX-36150; and a new module/recorder developed in partnership with RED Digital Cinema to record REDCODE to a proprietary media
    • 4x SDI outputs for different monitoring workflows
    • Camera design is somewhat closer to the C300 Mark III/C500 Mark II design, although a little bit bigger to acomodate the extra I/O terminals
    • This camera prototype is already out on the field being tested

    A lot of this information seems to be an evolution of previous Cinema EOS rumors.

    We also expect to see some RF mount cine prime lenses to finally be announced in 2023, we have been told that they're based off the Sumire line of lenses, but with some minor updates.

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    35 comments

    2. Wow, swappable sensors. I hoped for something like that to come for many years. Now it has finally arrived. Just in a large cinema camera, but that is a beginning. How great would it be to be able to swap sensor in a photo camera one day!

      Sadly the "smaller" cinema cameras by Canon still have SD cards. I do not like those flimsy SD cards at all, even if they are cheap.
    7. Doesn't "global shutter" mean that the whole sensor is read out at the same time? If that technology exists, why are most sensors still read out line by line? For the Canon R10 for example that still takes 40ms, which is an eternity, when it comes to fast moving subjects. I think I will find the answer by googling. I will do that tomorrow.
    10. Canon really should add something to the firmware of the C300 Mark III if the C200 is going to have the same sensor and an RF mount.
      Absolutely. starting To feel a little burned by the lack of RF, lack of compressed RAW and lack of eye AF all in the C70… I’ll guess I’m not the only C300iii owner feeling this way.
    11. Doesn't "global shutter" mean that the whole sensor is read out at the same time? If that technology exists, why are most sensors still read out line by line? For the Canon R10 for example that still takes 40ms, which is an eternity, when it comes to fast moving subjects. I think I will find the answer by googling. I will do that tomorrow.

      The benefit of a rolling shutter is increased latitude and lowlight capabilities. I imagine the global shutter sensor will take a hit to its dynamic range and it's performance at higher ISOs, all in the name of smoother motion with no horizontal distortion during quick camera moves. Notice that it's also not listed as a DGO sensor like the 8K sensor is.
    12. Doesn't "global shutter" mean that the whole sensor is read out at the same time? If that technology exists, why are most sensors still read out line by line? For the Canon R10 for example that still takes 40ms, which is an eternity, when it comes to fast moving subjects. I think I will find the answer by googling. I will do that tomorrow.
      A global shutter means that the frame is all exposed at the same time - the read out is still done line by line. Global shutter sensors are often slower to readout than rolling shutter designs which limits the maximum frame rate possible. They are also much more expensive and generally have worse dynamic range than rolling shutter designs.
    13. I don\'t feel Canon Cinema line needs a C200 markII. It\'s pretty much a C70 with a bigger body and will surely cost 2000$ more.

      If Canon wants to sell (full frame) RF lenses, they need a full-frame cinema body. I\'m actually working on 2 R5C but I would be pleased to sell those for a full-frame version of the C70.
    14. I'm still wondering what happened to the XC-20? I just want a reasonable 4k video, without rolling shutter that turns everything to soup if you pan left or right, on an ILC mount. RF preferably, so I don't have to buy 20 new lenses somewhere else...
    15. Will a FF 45MP global shutter sensor be difference between the R3 and the R1?
      About 3 years ago Canon published a patent for a sensor with two charge buckets per pixel that could be swapped between instanteously and read out individually.

      This allows:

      1) global shutter: just switch the sensor to the unused bucket and read out the full buckets. Loses about 1 stop DR.

      2) HDR: flicker between the two sensors, but give the A sensor 1/1024 the time of the B sensor. A will be -10 stops exposure. Expose B for the dark things in a scene but get an extra 10 stops highlight detail. For instance expose a real estate shot but be able to fully recover the daylight scene out the window. The patent didn't describe the flicker amount but I cranked the numbers and it seemed that you could get a continuous trace from a pretty fast-moving car with this. Obviously there'd be some speed where the A sensor images would become a discontinuous line of dots, but for most shots it'd work great.

      3) ND: just flicker whatever percentage you want.

      I am half-expecting this to be in the R1. That would make it a real game-changer in a way that a mere 100MP wouldn't necessarily be.
    16. I don\'t feel Canon Cinema line needs a C200 markII. It\'s pretty much a C70 with a bigger body and will surely cost 2000$ more.

      I agree. A C200 II at this stage feels kinda forced and clutters the cinema lineup. I'd much rather see RF mount upgrades to the C300 III and C500 II than another dedicated RF mount camera that sits below their two flagships. The C700 II is interesting, but let's see where that price lands and how power-hungry that system ends up being. The C500 II already eats those small BP batteries the same way the R5C eats the LP batteries.
    18. It has been really interesting to see the partnership between Canon and RED:
      • At first, it seemed that the trade was: Canon got to internally record compressed raw video on their cameras and in exchange RED got to use the RF mount. (Perhaps with some money changing hands as well.)
      • But this idea of a REDCODE RAW recorder module for the C700 II is a really intriguing new development!
        • I was originally hoping that ProRes RAW would finally standardize raw video codecs between cameras brands, but it seems RED's successful patent suit put paid to that.
        • But if RED started offering recorder modules to other brands' cameras (C700 II, maybe Venice, etc), it could create a semi-standard that would leverage the wide software support for and industry familiarity with REDCODE RAW at what would hopefully be, although surely not cheap, perhaps a bit more affordable than the Codex recorders and media.
          • It would be interesting to see how much benefit there might be to REDCODE RAW vs Cinema RAW Light at equivalent data rates...

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