Live Coverage of the Announcement

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c.d.embrey said:
These people don't have a clue. Once again we are given a consumer form factor. ZacutoRock will be happy -- they will sell a lot of cages, shoulder mount kits, etc.

Take a look at an Alexa or an Aaton 16mm film camera, among others. The view finder needs to up-front by the lens mount. The body shape is wrong, you need to be able to sit the camera on your shoulder, with-out add-ons.

Meh!!!
If they had done that all of the people that have spent thousands of dollars on DSLR video gear in the past few years would be SOL.
 
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Zuuyi said:
Not a 1Dx.

1. It's too small to be a 1Dx.
2. The badge is red/purple; the 1Dx is black and white.

It could be anything else.
And it's in the foreground, not faded with all the other EOS lenses in the background. It's clearly part of the cinema line, the badge is the same. They also placed it so you might mistake it for just another C300. Engadget just pointed it out also.
 
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Cooljoe57 said:
Never mind, Engadget just did it for me. Check this out!

http://www.blogcdn.com/www.engadget.com/media/2011/11/201111036051.jpg
It looks pretty similar to a 5D2, but it has a vertical grip seemingly attached.

Edit: There is an additional button just to the left of pentaprism, and it does seem to look more like a 1d series.
 
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The three primes are 24 T/1.5, 50 T/1.3, and 85 T/1.3. It is interesting how the 50 and 85 are slower than the standard L series EF lenses, especially for such an expensive camera. They better be good, and according to planet5d, they are sharper than the L's.

Edit: Apparently I didn't know T stops and F stops were different; thus, the new primes are better. I apologize.

Quote from planet 5D live blog moderator "Real power of the Cinema EOS is the lenses - I kept saying how sharp the movies were!"
 
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coltsfreak18 said:
The three primes are 24 f/1.5, 50 f/1.3, and 85 f/1.3. It is interesting how the 50 and 85 are slower than the standard L series EF lenses, especially for such an expensive camera. They better be good.

No they are T/1.5 and T/1.3. T Stops and F Stops are different. I cant remember the exact difference, but I know that T stops let in more light, but T/1.3 is superior to f/1.2 for sure.
 
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Axilrod said:
coltsfreak18 said:
The three primes are 24 f/1.5, 50 f/1.3, and 85 f/1.3. It is interesting how the 50 and 85 are slower than the standard L series EF lenses, especially for such an expensive camera. They better be good.

No they are T/1.5 and T/1.3. T Stops and F Stops are different. I cant remember the exact difference, but I know that T stops let in more light, but T/1.3 is superior to f/1.2 for sure.
Oh dang. Well I feel stupid now.

I just googled it, and a T-Stop is the effective F stop of a camera based on the percentage of light the lens transmits. For example, a F/4.0 lens with 50% transmittance is a T/5.6 lens.
 
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Now, let's not all get too excited, but that definitely is a DSLR because it has a prism. Whether they're just including a generic CGI render of how the C300 may impact on future video capable DSLRs, or whether this is an actual second, cheaper model is open to debate. Remember what's been said before on this board: Canon's video and stills camera divisions are almost two seperate entities. The video arm at this announcement seem to be at pains to point out that they develped the C300's sensor separately from the stills division (of course, that could just be marketing hype to distance it from the 5D MkII).
 
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Meh said:
There it is on engaget... much clearer shot of the second camera and certainly looks like a DSLR with "C" badge in the upper left of the body.

Yup, it's gonna be the "but wait, there's more." Not everyone is going to ditch their 5D2 for a $16k camera, it's too much to ask. They're going to release something that they want to sell the shizzle out of. I'm willing to bet the primes will be around $3k or more/each
 
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Axilrod said:
Meh said:
There it is on engaget... much clearer shot of the second camera and certainly looks like a DSLR with "C" badge in the upper left of the body.

Yup, it's gonna be the "but wait, there's more." Not everyone is going to ditch their 5D2 for a $16k camera, it's too much to ask. They're going to release something that they want to sell the S___ out of. I'm willing to bet the primes will be around $3k or more/each

Next big question though... will it be a lower resolution sensor (i.e. less than 21MP) with the justification it's optimized for video?
 
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coltsfreak18 said:
Axilrod said:
coltsfreak18 said:
The three primes are 24 f/1.5, 50 f/1.3, and 85 f/1.3. It is interesting how the 50 and 85 are slower than the standard L series EF lenses, especially for such an expensive camera. They better be good.

No they are T/1.5 and T/1.3. T Stops and F Stops are different. I cant remember the exact difference, but I know that T stops let in more light, but T/1.3 is superior to f/1.2 for sure.
Oh dang. Well I feel stupid now.

Don't feel stupid, I would think they were the same too (and did at one point).
 
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traveller said:
We're running a way a bit here. Couldn't the DSLR picture just be of the 1D X with a purple 'C' badge on it, to show that you can use the new cinema EF lenses on a regular EOS stills camera?
I was thinking the same thing a bit ago. Also, is there any significance to the RED color, indicating that this camera aspires to compete with RED equipment? Or is it just an additional notification of a professional body/lens combo?
 
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Axilrod said:
coltsfreak18 said:
Axilrod said:
coltsfreak18 said:
The three primes are 24 f/1.5, 50 f/1.3, and 85 f/1.3. It is interesting how the 50 and 85 are slower than the standard L series EF lenses, especially for such an expensive camera. They better be good.

No they are T/1.5 and T/1.3. T Stops and F Stops are different. I cant remember the exact difference, but I know that T stops let in more light, but T/1.3 is superior to f/1.2 for sure.
Oh dang. Well I feel stupid now.

Don't feel stupid, I would think they were the same too (and did at one point).

T-stop takes into account the transmission loss of the optical glass. It is the equivalent of an f-stop for a lens that had zero transmission loss.
 
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