Canon officially announces the C700 Full Frame

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<p><b>MELVILLE, N.Y., March 28, 2018</b> – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the EOS C700 FF, the Company’s first full-frame cinema camera. The beauty and majesty of full-frame digital cinema is now becoming a new creative reality. Since the introduction of the EOS 5D Mark II DSLR camera in 2008, Canon has been a part of the full-frame video movement, and the introduction of the C700 FF has reinforced Canon’s commitment to this market. At the heart of the camera is a novel Canon-developed CMOS image sensor having a total of 5952 (H) x 3140 (V) photosites with a digital cinema 17:9 aspect ratio, which gives it the same image circle size as the full frame EOS 5D camera series. This supports a wide range of shooting options.</p>
<p>Available in both PL and EF Mount, the EOS C700 FF provides users with the same outstanding performance, operation and modular design as the EOS C700 (released in December 2016). The camera is being shown publicly for the first time at the Canon booth (C4325) at the NAB Show 2018 in Las Vegas from April 9-12.</p>
<p><!--more-->“Since the launch of Canon’s Cinema EOS line of products in November 2011, the goal was to one day develop a cinema camera worthy of being the ‘A’ camera on major Hollywood productions, and Canon met that goal with the introduction of the EOS C700,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “After listening to our customers and closely monitoring market trends, Canon set forth a new goal: to launch a full-frame cinema camera. With this introduction, we are very excited to see the C700 FF in the hands of industry professionals as they shoot their latest projects.”</p>
<p>Existing owners of Canon’s original EOS C700 cinema camera will be pleased to know they can have their Super 35mm sensor upgraded to the new Full-Frame sensor for a fee*. Authorized Canon facilities such as Canon Burbank are ready to process C700 upgrades as well as lens mount swaps, and offer equipment drop off, on-site repairs and upgrades, as well as equipment testing and demonstration.</p>
<p><b>The Sensor</b></p>
<p>The newly developed sensor featured in the EOS C700 FF has an active image area of 38.1 x 20.1mm and supports readout at full size, as well as Super 35mm, Super 16mm and anamorphic modes. In addition to full-frame lenses, it can be used with conventional Super 35mm lenses to originate 4K / UHD standardized production formats and Super 16mm lenses (with an adapter) to originate 2K / HD production formats in crop modes. The sensor captures wide tonality exceeding 15 stops of dynamic range and a wide color gamut meeting ITU-R BT.2020 standards. This offers broad latitude when grading, providing outstanding effectiveness in HDR video production.</p>
<p><b>Recording</b></p>
<p>The EOS C700 FF embodies a choice of two high-performance codecs for on-board recording –Canon XF-AVC or Apple ProRes. Like other cameras in the 4K Cinema EOS family, the EOS C700 FF uses CFast cards to capture 4K / UHD or 2K / HD. A striking feature of the C700 FF is the <i>Oversampling 4K Processing</i> that processes a 5.9K image capture to produce 4K (DCI or UHD) having enhanced image sharpness, curtailed moire, and a lowered visibility of noise at the higher ISO settings. This is especially advantageous for on-board anamorphic image capture. Low-rate 2K/HD proxy data including metadata, can be recorded to SD cards, ideal for offline editing. The camera also allows high-frame-rate recording of up to 168fps in 2K crop and relay or simultaneous recording onto both CFast cards. In addition, the C700 FF can shoot at a Full HD high-frame-rate recording at a maximum of 168 fps. Additional formats are planned with future firmware updates.</p>
<p>To further complement the features of the EOS C700 FF, Canon has turned to its trusted partner Codex to provide a fully integrated (no cables) recording and workflow option. The combination of the optional Codex CDX-36150 recorder docked onto the back of the EOS C700 FF enables 5.9K 60 fps RAW recording, 4K RAW up to 72 fps (in 24p mode), 4K ProRes up to 60 fps and 2K ProRes up to 168 fps (in Super 16mm mode).</p>
<p>The C700 FF also supports the latest version (1.0) of the ACESproxy, the ACES (Academy Color Encoding System) color management transmission standard.</p>
<p><b>HDR</b></p>
<p>For users looking to create High Dynamic Range (HDR) imagery, the EOS C700 FF is an excellent solution, providing 15 stops of latitude (with Canon Log2 only), along with Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Canon Log2 is recommended when originating HDR imagery containing both highlight details and deep shadowed details. In comparison with Canon Log, Canon Log3 offers a wider dynamic range while retaining performance in darker regions.</p>
<p>Additionally, these cameras seamlessly integrate with Canon’s latest professional 4K UHD Reference Displays for on-set review and color management that conforms to SMPTE ST 2084 standards of HDR display.</p>
<p>The look of a cinematic production begins with the lens, and the EOS C700 FF offers both PL and EF lens mount options which are interchangeable at a Canon authorized service center. For full frame imaging, the EF lens mount version of the new EOS C700 FF is compatible with Canon’s family of seven Cinema Prime lenses, including the newly announced CN-E20mm T1.5 L F lens, as well as the diverse lineup of over 70 interchangeable EF lenses. The EF mount supports Canon’s Dual Pixel CMOS AF technology and Dual Pixel Focus Guide. The Focus Guide assists operators with a precision visual indicator in the viewfinder when pulling focus. Alternatively, for certain demanding shooting situations the reliable capabilities of Dual Pixel CMOS AF can be deployed. The EOS C700 FF PL mount version is also compatible with Cooke’s /i metadata communication technology.</p>
<p>The EOS C700 FF EF and EOS C700 FF PL are scheduled to be available in July 2018 for an estimated retail price of $33,000.00. For more information on the EOS C700 FF please visit, usa.canon.com/provideo.</p>
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transpo1

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Jan 12, 2011
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Good move for them. They needed to match the Sony Venice, ARRI, and RED formats. It's smaller than other sensor sizes with a 17:9 aspect, however.
 

transpo1

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swithdrawn said:
Does this all but guarantee no 4k, or a ridiculously hobbled 4k, in any forthcoming FF mirrorless?

Pretty much.

I think if they are smart, they'll release a high end FF mirrorless with FF 4K and a good quality codec, as a "gateway drug" to their higher end cinema products like the C700. Many DPs/Cinematographers have grown up with the Sony A7S series and have migrated to FS7s with Speedboosters, etc., and could be potential Venice customers. It keeps them in the ecosystem.

Canon should give people who are just starting out a really buzz worthy 4K product that recaptures the glory of the original 5D Mark II by enabling FF 4K.

But, will they? From what we've seen so far, probably not. (And I'm usually not cynical, but with Canon I've been disappointed many times in this regard :)
 

canonnews

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swithdrawn said:
Does this all but guarantee no 4k, or a ridiculously hobbled 4k, in any forthcoming FF mirrorless?

This camera and a DSLR is nowhere close to the same level of capabilities. We're talking a $35,000 video camera.

This really has nothing to do with DSLR's.

They probably will never put the full C300 styled 4K codecs or the C200 RAW format in a DSLR, but that doesn't mean they will hobble the DSLR video any. People that buy the C700 aren't going to jump to a DSLR for recording no matter what.
 

Talys

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swithdrawn said:
Does this all but guarantee no 4k, or a ridiculously hobbled 4k, in any forthcoming FF mirrorless?

Oh, sure, because someone might buy a $3,000 camera instead of a $33,000 video rig. ::)

Shucks, Canon might just hobble 4k video in future 5DIV and 1DXII models, so better go buy one now before they get nerfed!!
 
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I like how they referenced the 5d Mk II as a reason people moved toward full frame digital cinema. I'm all for Canon being competitive in the high end market, but those comments are a bit patronizing when they've all but forgotten the owner-operator demographic that fully embraced the 5D II. It's a decade later and they'll still trying to ride that wave.
 

syyeung1

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Feb 20, 2018
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According to some, this is another proof that the M50 is crippled! :p

Haven't been following this. Was the Super35 similar to APS-C with a crop factor? If so, changing to FF will
Mean they need new lens to achieve the same focal length?
 

RunAndGun

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We all knew it was coming, but it's DoA. I like Canon, but a lot of their choices and decisions when it comes to (video/cine) cameras just make you scratch your head and wonder if they ever really listen to the conversations they have with people in the industry.
 

cpreston

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syyeung1 said:
According to some, this is another proof that the M50 is crippled! :p

Haven't been following this. Was the Super35 similar to APS-C with a crop factor? If so, changing to FF will
Mean they need new lens to achieve the same focal length?

Super35 was just slightly larger than APS-C, which meant that most APS-C lenses could be used on the Canon Cinema Cameras. Super35 was a standard for film so most cinematographers don't think in terms of full frame 35mm still lens focal lengths anyway. Other camera manufacturers have started adding extra area and resolution to their video camera sensors so Canon is following suit. The fact that Canon already has its full frame sized stills and cinema primes available means it has a possible market despite the C700 not currently selling very well.
 

RunAndGun

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syyeung1 said:
According to some, this is another proof that the M50 is crippled! :p

Haven't been following this. Was the Super35 similar to APS-C with a crop factor? If so, changing to FF will
Mean they need new lens to achieve the same focal length?

I think you mean FoV. A lenses focal length does not change just because you put it in front of a different sized sensor. A 50mm lens is a 50mm lens regardless if it's in front of a s35 sensor, a "FF" sensor, s16, apps-c, etc.
 

swithdrawn

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RunAndGun said:
We all knew it was coming, but it's DoA. I like Canon, but a lot of their choices and decisions when it comes to (video/cine) cameras just make you scratch your head and wonder if they ever really listen to the conversations they have with people in the industry.

Exactly, this is so perplexing. I would think even the Venice system from Sony will have a hard time breaking into the small segment of high end productions who want to shoot 'large format'. Could be wrong, but the only productions I've read about doing this are all using Alexa 65. I feel like FF marketed as a groundbreaking cinema feature in 2018 by Canon and Sony is gimmicky and insulting to those of us shooting FF back in 2009.
 

preppyak

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canonnews said:
They probably will never put the full C300 styled 4K codecs or the C200 RAW format in a DSLR, but that doesn't mean they will hobble the DSLR video any. People that buy the C700 aren't going to jump to a DSLR for recording no matter what.
Yep, this thing doesnt even use SD cards like a DSLR, relying entirely on CFast or an attached recorder. So the ability it has in terms of throughput and data speed is not comparable in any way.

Canon will proably continue to muck up their 4k decisions in DSLRs, but that will be because they are Canon, not because they are worried about hurting sales for a camera thats easily 20x the price by the time you buy all the necessary pieces.
 

Bernard

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Mar 18, 2015
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swithdrawn said:
Could be wrong, but the only productions I've read about doing this are all using Alexa 65.

The Alexa 65 has an even larger sensor (around 5cm wide). The FF (really "VV" for Vistavision) competitor to the C700, and to the Venice , is the just-announced Alexa LF.

Will shows use this format? It depends on the look that the director/cinematographer want, and how far the budget can stretch.
I don't think that the industry will switch over to VV, but it will be used on shows where it makes sense.
 

transpo1

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Jan 12, 2011
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Talys said:
swithdrawn said:
Does this all but guarantee no 4k, or a ridiculously hobbled 4k, in any forthcoming FF mirrorless?

Oh, sure, because someone might buy a $3,000 camera instead of a $33,000 video rig. ::)

Shucks, Canon might just hobble 4k video in future 5DIV and 1DXII models, so better go buy one now before they get nerfed!!

4K in the 5DIV is already hobbled with a 1.7x crop ;)

Actually, you make a good case on why Canon should NOT hobble video in their mirrorless or DSLRs, so I hope they see your logic. So far, they do not.
 

transpo1

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Jan 12, 2011
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CarlMillerPhoto said:
I like how they referenced the 5d Mk II as a reason people moved toward full frame digital cinema. I'm all for Canon being competitive in the high end market, but those comments are a bit patronizing when they've all but forgotten the owner-operator demographic that fully embraced the 5D II. It's a decade later and they'll still trying to ride that wave.

So true- they'll ride that wave when it suits them but not provide FF capability in any of their DSLRs or in lower end Cinema EOS moving forward. Hypocritical, and what a shame.
 

transpo1

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Jan 12, 2011
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canonnews said:
swithdrawn said:
Does this all but guarantee no 4k, or a ridiculously hobbled 4k, in any forthcoming FF mirrorless?

This camera and a DSLR is nowhere close to the same level of capabilities. We're talking a $35,000 video camera.

This really has nothing to do with DSLR's.

They probably will never put the full C300 styled 4K codecs or the C200 RAW format in a DSLR, but that doesn't mean they will hobble the DSLR video any. People that buy the C700 aren't going to jump to a DSLR for recording no matter what.

But people novice DPs might grow up shooting FF Sony mirrorless and graduate to Sony CineAlta products instead of Canon. This is why it's important to be involved in the lower end of the market with comparable products for video shooters.
 

LDS

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Sep 14, 2012
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transpo1 said:
But people novice DPs might grow up shooting FF Sony mirrorless and graduate to Sony CineAlta products instead of Canon. This is why it's important to be involved in the lower end of the market with comparable products for video shooters.

So high-end movie camera makers (Arri, etc...) without a mirroless line should be worried?

When you reach a given level, you switch to the product(s) delivering you what you need, regardless of the brand - and many brands you're going to use don't care about the consumer market.
 

ajm

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Aug 25, 2016
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Heck yeah, finally! I think I'll get one. My new A cam, my C300 MKII can be my B cam now.
Why so many negative comments? Geez....people are so jaded these days.