Canon U.S.A., Inc. Introduces New Flagship EOS C700 Cinema Camera

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<em>Ideal for Major 4K Cinema, Television, and On-Demand Streaming Productions</em></p>
<p dir="ltr"><strong>MELVILLE, N.Y., September 1, 2016</strong> – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the next step in the evolution of the Cinema EOS family of professional cinematography products with the new EOS C700, EOS C700 PL and EOS C700 GS PL cinema cameras.</p>
<p dir="ltr">Featuring a completely new, customizable, modular design, the EOS C700 meets the demands of today’s productions – from feature films to documentaries to episodic dramas. The EOS C700 and EOS C700 PL cameras feature a Super 35mm 4.5K sensor<sup>1</sup> with wide dynamic range, and can be ideal for productions requiring 4K UHD TV or 4K DCI cinema deliverables. The EOS C700 GS PL features a Super 35mm 4K sensor with a global shutter to enable the distortion-free capture of subjects moving at high speeds. In addition to supporting the earlier XF-AVC<sup>2</sup> recording format, the cameras also support Apple<sup>®</sup> ProRes.</p>
<p dir="ltr">Recognizing that customers today demand flexibility and the ability to respond to the changing needs of productions, the EOS C700 allows users to convert between EF mount and PL mounts, and between a standard CMOS image sensor and a global shutter CMOS image sensor at Canon service facilities<sup>3</sup>. The EF lens mount provides compatibility with Canon’s diverse lineup of over 70 interchangeable EF lenses as well as enabling use of Canon’s Dual Pixel CMOS AF technology. While the EOS C700 PL and EOS C700 GS PL allow use of industry-standard PL lenses and compatibility with Cooke /i metadata communication technology.</p>
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<p dir="ltr">For those wanting to shoot and deliver High Dynamic Range (HDR)<sup>4</sup> content, the EOS C700 and EOS C700 PL are ideal – providing 15 stops of latitude<sup>5</sup>, Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Additionally, these cameras seamlessly integrate with Canon’s professional 4K displays (DP-V2420, DP-V2410 or DP-V1770) for on-set color management and review that conforms to SMPTE ST 2084<sup>6</sup> standards of HDR display.</p>
<p dir="ltr">To complement these powerful new acquisition tools, Canon has turned to its trusted partner Codex to provide a fully-integrated (no cables) recording and workflow option. The combination of the EOS C700 camera with the optional Codex CDX-36150 recorder allows for high-speed 4.5K RAW recording at up to 100FPS, 4K RAW at up to 120FPS, 4K ProRes at up to 60FPS, 2K ProRes at up to 240FPS and XF-AVC at up to 60FPS.</p>
<p dir="ltr">Canon’s new EOS C700, EOS C700 PL and EOS C700 GS PL are the first Cinema EOS cameras to support anamorphic shooting  by utilizing a “de-squeeze” function for monitoring<sup>7</sup>, making possible the creation of images with the 2.39:1 aspect ratio typical of cinema productions. Furthermore, enabling Full HD high-frame-rate recording at a maximum of 240 fps (crop<sup>8</sup>), the camera enables smooth playback, even when slowed down, for great emotional visual expression.</p>
<p dir="ltr">Along with the announcement of these cameras, Canon is also introducing optional accessories OLED 1920×1080 Electronic View Finder EVF-V70, Remote Operation Unit OU-700, Shoulder Support Unit SU-15, Shoulder Style Grip Unit SG-1 and B4 mount adapters MO-4E/MO-4P.</p>
<p dir="ltr">The EOS C700 and EOS C700 PL are currently expected to go on sale in December 2016, while the EOS C700 GS PL is currently expected to go on sale in January 2017. The EOS C700 and EOS C700 PL will have a list of $35,000.00 each** and the EOS C700 GS PL will have a list price of $38,000.00**.</p>
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PureClassA

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Bernard said:
drama said:
$30,000 without the modules? And with those codecs? I have no idea who this is aimed at.

It's aimed at rental houses and big budget productions.
Motion pictures don't buy cameras, they rent them. This camera competes with Arriflex and Panavision cameras.

I've seen REDs on ebay still up in the $20k range. ARRIs are even more expensive. Sony F55 is also in this same range. There's a quite a bit of a market it's aimed at. I just can't speak for how competitive all the specs are because I don't know a ton about that industry's demands.
 
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Bernard said:
drama said:
$30,000 without the modules? And with those codecs? I have no idea who this is aimed at.

It's aimed at rental houses and big budget productions.
Motion pictures don't buy cameras, they rent them. This camera competes with Arriflex and Panavision cameras.

It doesn't compete with the aforementioned cameras at all. Right now Canon are announcing a barrage of disappointing new products, 5d4, xc15 and now this! All under spec'ed and generally disappointing
 
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Feb 28, 2013
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Not been able to find out the sensor dimensions if its full height S.35 then it has a fighting chance for anamorphic if its not then no it will not.

This camera hardly moves the game on from the 2012 Sony F55 with a similar form factor (the F55 also has a new 4K raw recorder from September), it doesn't match Red particularly the new Helium sensor for the Dragon & Weapon and is way behind the Alexa MINI, Alexa SXT and the announced Panavision DXL, sure all those cameras have a rolling shutter (not the F55) but in practise this has not been an issue.

It will do well in TV but I'm not so sure in Cinema, I don't know of a single film production using Canon CN lenses and I suspect its mainly going to disrupt Sony F55 business either in sales or rental.
 
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Feb 28, 2013
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Bernard said:
drama said:
$30,000 without the modules? And with those codecs? I have no idea who this is aimed at.

It's aimed at rental houses and big budget productions.
Motion pictures don't buy cameras, they rent them. This camera competes with Arriflex and Panavision cameras.
Neither Arri or Panavision are going to lose any sleep, .5K more than the 2012 Sony F55, dual pixel but otherwise almost identical spec.
 
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Did anyone else catch that the 15 stop dynamic range only applies to the normal CMOS shutter? The global shutter sensor's dynamic range is never mentioned. So, it's a choice of dynamic range or global shutter, but not both.

"The EOS C700 and EOS C700 PL cameras feature a Super 35mm 4.5K sensor1 with wide dynamic range..."

"The EOS C700 GS PL features a Super 35mm 4K sensor with a global shutter to enable the distortion-free capture of subjects moving at high speeds."

"...the EOS C700 and EOS C700 PL are ideal – providing 15 stops of latitude"
 
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Bad ass camera.

Crazy to think that many people wanted some of this stuff on the 5D Mark IV. That's definitely not realistic and we gotta pay for that stuff. People on Youtube with "Oh it should have this" checklist stuff are lame.

RED cameras are upgradeable, too. It's nothing new. 4K, 4.5K, 6K, and 8K resolution truly does not matter at this level of filmmaking. Actually, it's irrelevant. 120 FPS is more than enough to do great slo-mo.

The higher price is about color science, dynamic range, and work flow. Basically, we have to pay for that distinctive look that cannot be recreated in post and by any other camera. Apply any type of LUT you want, but the skin tone and certain colors cannot be matched. Canon cannot recreate ARRI's look and vice versa. Same goes for RED.

Canon feels confident that they can compete with ARRI. That's cool. I need to see more demos.
 
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RayValdez360

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Mr. Milo said:
Bad ass camera.

Crazy to think that many people wanted some of this stuff on the 5D Mark IV. That's definitely not realistic and we gotta pay for that stuff. People on Youtube with "Oh it should have this" checklist stuff are lame.

RED cameras are upgradeable, too. It's nothing new. 4K, 4.5K, 6K, and 8K resolution truly does not matter at this level of filmmaking. Actually, it's irrelevant. 120 FPS is more than enough to do great slo-mo.

The higher price is about color science, dynamic range, and work flow. Basically, we have to pay for that distinctive look that cannot be recreated in post and by any other camera. Apply any type of LUT you want, but the skin tone and certain colors cannot be matched. Canon cannot recreate ARRI's look and vice versa. Same goes for RED.

Canon feels confident that they can compete with ARRI. That's cool. I need to see more demos.
No people really wanted a useful codec and a log profile. Software that is was already out on other cameras for years.
 
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No people really wanted a useful codec and a log profile. Software that is was already out on other cameras for years.

I get it.

Before I stepped on to Canon's products, I researched Sony, Panasonic, Nikon, and BlackMagic before committing. It came down to the lens and how Canon only updates their cameras once every 4 years. I liked that. There is no rush for me and I don't have to spend money quickly like Sony updating their stuff every 14 months.

I didn't expect Canon to do that MJPEG stuff, but I somewhat expected them to withhold their c-log from DSLRs. Canon's DSLRs are stills cameras with high video abilities. Their vision for their business is different from us, the consumers. We want this, we want that, but Canon is like "Hell to the No. You want full frame 4K? You pay that. You want c-log? Pay more." It's business.

If you want useful codecs and logs, we have to buy the C100-C300 line. Canon made their message crystal clear with the 5D Mark IV. Hell, we should have gotten the message with the 5D Mark III. When the 5D Mark II was making huge steps in filmmaking, the C100 and C300 did not even exist.

BUT, the 5D Mark IV is still a great filmmaking camera for internet work, documentaries, events, weddings, and run N gun promo. Hollywood will still use the 5D Mark IV because it's very affordable. If I had the Canon 5D Mark IV right now, I definitely will NOT buy the Canon C series. Canon did not want us to think that so...

Canon wanted to have another avenue for money hence the Cinema series with everything that filmmakers want. The 5D line will never be a serious Camera A for filmmakers like us, but we can still make some damn good film stuff with the Mark IV though. Again, it's a great camera depending on what type of filmmaker you are.
 
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Mr. Milo said:
4K, 4.5K, 6K, and 8K resolution truly does not matter at this level of filmmaking. Actually, it's irrelevant.

Eh, not so sure I agree. When doing any sort of compositing, the difference between 4K and 8K is far from irrelevant.

The happy reaction: This looks like a fantastic camera and I hope to get my hands on it (or, more likely, my hands on footage) sooner rather than later.

The more honest reaction: This looks great, but it's not the Arri-killer people were expecting. Good specs all around, but it's not the leap forward that Canon needed if they wanted to really announce themselves as a serious contender in features. RED and Arri could release incremental upgrades -- they've already got every DP's attention. But Canon doesn't have the feature market share to release a camera that's nothing more than "really nice."

15 stops of DR and Global Shutter and 4.5K RAW? Very, very cool, but nothing about this screams louder than the competition, and it's not priced attractively for today's market. These specs and price point could have been a game-changer about 3 years ago, but there's too much competition and too much on the horizon for DP's to take this seriously as an Arri-killer.

Can't wait to see lots more test footage, and I can definitely see this finding a market in TV. But I fear Canon hit a triple when they really, really needed a home run.
 
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