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    More information about the upcoming RF mount Cinema EOS series of cameras [CR2]

    By 93 Comments2 Mins Read Canon Cinema EOS Rumors
    rfmountline - More information about the upcoming RF mount Cinema EOS series of cameras [CR2]

    There is a lot of conflicting information hitting my inbox in regards to the previously rumored RF mount Cinema EOS series of cameras.

    While two cameras have been rumored, I have now been told multiple times that only one of them will be announced in late August or early September, with the others coming a bit later. There could obviously be some manufacturing or supply chain issues that may delay products.

    I am told that the first camera announced will be the Cinema EOS R300, which will be the higher-end camera of the two rumored RF Cinema EOS cameras.

    Canon Cinema EOS R300 (Name not confirmed)

    • Super 35mm 4K DGO sensor (same as the Cinema EOS C300 Mark III)
    • No IBIS
    • RF Mount
    • Internal ND (10 Stops)
    • CLog 2 & CLog 3
    • 4:2:2 10bit onto SD cards up to 4K120 and 2K180
    • No RAW capability internally at launch
    • BP-A batteries
    • Price: $6299 USD

    In addition to this information, I am told that the camera will definitely not come with RAW capability and it won't have SDI output.

    This source also confirms that the body will be smaller than the C100/C200 camera bodies by a significant amount.

    You can check out the other three rumored video products coming from Canon soon here.

    Some of our articles may include affiliate links. If you purchase through these links, we may earn an affiliate commission at no extra cost to you.

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    93 comments

    3. Smaller would be amazing! I'm curious about how well this will do against a RED Komodo at the same price point. It also makes me wonder if perhaps the reason the Komodo doesn't currently support RF lenses is because Canon wants to be the first to launch an RF cine camera?
    5. The thing that gets me about these various video specs, Canon have been beaten up about cropping their ff sensors in their hybrid cameras yet when a video camera is announced it has a S35 sensor and people think it’s fantastic. Same with the smaller still sensor in the GH5 and even more so the GH5s, best thing ever; if you ignore the three quarter crop!

      What gives? You either ‘need’ a 135 format sensor for that ‘cinematic look’ or you don’t, if you don’t go back and make amends for the bullshit you spewed about crop video modes.
    7. The thing that gets me about these various video specs, Canon have been beaten up about cropping their ff sensors in their hybrid cameras yet when a video camera is announced it has a S35 sensor and people think it’s fantastic. Same with the smaller still sensor in the GH5 and even more so the GH5s, best thing ever; if you ignore the three quarter crop!

      What gives? You either ‘need’ a 135 format sensor for that ‘cinematic look’ or you don’t, if you don’t go back and make amends for the bullshit you spewed about crop video modes.
      S35 is the cinema standard, so a cinema camera with a standard cinema sized sensor is perfectly acceptable. Plus, the DGO sensor is a highly desirable feature, so I can’t see anyone complaining about getting that sensor in a much smaller body.
      I would normally say this camera is an instant buy, but after the mess that was the R5, and now with talk of “silent recalls”, as an R5 owner I’m left feeling like... Canon WFT?... Really?
    8. The thing that gets me about these various video specs, Canon have been beaten up about cropping their ff sensors in their hybrid cameras yet when a video camera is announced it has a S35 sensor and people think it’s fantastic. Same with the smaller still sensor in the GH5 and even more so the GH5s, best thing ever; if you ignore the three quarter crop!

      What gives? You either ‘need’ a 135 format sensor for that ‘cinematic look’ or you don’t, if you don’t go back and make amends for the bullshit you spewed about crop video modes.

      FF is a photographers obsession where it is much easier to keep things in focus. If you are shooting a 50 1.2 wide open it will have to be locked off on sticks and that is boring. Imagine trying to keep a 50 1.2 wide open on a FF camera while shoulder rigged running down a country path. If this camera comes with R5 class IAF it could be an absolute game changer in that respect. But this is canon so I am not holding my breath.

      Some one asked why RED doesn't have an RF mount. Becuase people that can afford a RED can afford cinema lenses and a crew. And the same reason they don't have an L mount. No one uses them. It will be interesting to see if Canon brings any RF mount cine glass with this camera and if there will be any new adapter options like RF to PL. The RF 50 1.2 would probably be a $30,000 lens if done as a cine lens.
    9. The thing that gets me about these various video specs, Canon have been beaten up about cropping their ff sensors in their hybrid cameras yet when a video camera is announced it has a S35 sensor and people think it’s fantastic. Same with the smaller still sensor in the GH5 and even more so the GH5s, best thing ever; if you ignore the three quarter crop!

      What gives? You either ‘need’ a 135 format sensor for that ‘cinematic look’ or you don’t, if you don’t go back and make amends for the bullshit you spewed about crop video modes.
      I had the same thought about the S35 size sensor. I mean, objectively it makes sense that this is the native size of the media this camera is aimed at making. I get it. But the internet's response to any hybrid camera with any type of video crop is overwhelmingly bad. Perhaps its an issue with workflow and how the average v-blogger doesn't have as much glass or space to get the framing they need, or want to spend as much time setting up to get it right with the options they have? Or perhaps its just more random internet warriors looking for something to unleash on. Or a misunderstanding about what is really a limitation and what is only a perceived one. Who knows. The internet is a rough place. I'm glad the real world isn't like the internet.

      -Brian
    10. S35 is the cinema standard, so a cinema camera with a standard cinema sized sensor is perfectly acceptable. Plus, the DGO sensor is a highly desirable feature, so I can’t see anyone complaining about getting that sensor in a much smaller body.
      I would normally say this camera is an instant buy, but after the mess that was the R5, and now with talk of “silent recalls”, as an R5 owner I’m left feeling like... Canon WFT?... Really?
      I know S35 is sort of a cinema standard, it hasn't really been a video 'standard' until relatively recently because lets face it, what does the widest picture you can fit on a 135 format film between the perforations when run through a gate vertically have to do with anything in the digital realm? But that does nothing to address my point about Canon being unmercifully criticized for hybrid camera ff video crops that still equate to larger than S35 sensors when M4/3 cameras with sensors smaller than S35 are applauded for their 'cinematic output'.

      If you are disappointed in your R5 you only have yourself and unrealistic expectations to blame. The camera does exactly what Canon said it would do, I can understand if that isn't what you as an individual might need, but that doesn't change the fact that Canon did not say the R5 would do something it couldn't. Though most of the 'limitations' are rather easily and cheaply negated by normal video gear anyway, but meanwhile tell me what it is you do need and tell me what other cameras can do that for well under $4,000.
    11. FF is a photographers obsession where it is much easier to keep things in focus. If you are shooting a 50 1.2 wide open it will have to be locked off on sticks and that is boring. Imagine trying to keep a 50 1.2 wide open on a FF camera while shoulder rigged running down a country path. If this camera comes with R5 class IAF it could be an absolute game changer in that respect. But this is canon so I am not holding my breath.

      Some one asked why RED doesn't have an RF mount. Becuase people that can afford a RED can afford cinema lenses and a crew. And the same reason they don't have an L mount. No one uses them. It will be interesting to see if Canon brings any RF mount cine glass with this camera and if there will be any new adapter options like RF to PL. The RF 50 1.2 would probably be a $30,000 lens if done as a cine lens.
      Then why have all the videonazi's been criticizing everything Canon make that relies on crop ff sensor video? I haven't heard a single photographer complain about it...
    12. The thing that gets me about these various video specs, Canon have been beaten up about cropping their ff sensors in their hybrid cameras yet when a video camera is announced it has a S35 sensor and people think it’s fantastic. Same with the smaller still sensor in the GH5 and even more so the GH5s, best thing ever; if you ignore the three quarter crop!

      What gives? You either ‘need’ a 135 format sensor for that ‘cinematic look’ or you don’t, if you don’t go back and make amends for the bullshit you spewed about crop video modes.
      The crop factor itself is not really the problem. Being significantly different to stills images, using different lenses for stills and video etc. that is annoying to deal with.

      With video cameras, there is no issue because they are not for taking stills, e.g. one purpose only.

      By the way Canon is not the only one, the Panasonic S1 series cameras also have a 1.5x crop with 4k60p, which is not ideal if one is shooting 4k30p in FF mode. The A7IV and Nikon Z6s may have similar recording modes as well, which will be just as annoying as overheating on the Canon R6.

      Or the older Canon video cameras there was a crop on the 1080p120p slow motion recording as well (with significantly reduced quality)
      Now with these new S35mm sensors, is 4k120p without any crop, big upgrade. And of course there is that Speed Booster option to reduce the crop factor (with a FF stills camera, it is not really worth it because it is only usable in the 4k crop mode, and all the rest becomes disabled)
    13. a 2If you are disappointed in your R5 you only have yourself and unrealistic expectations to blame. The camera does exactly what Canon said it would do, I can understand if that isn't what you as an individual might need, but that doesn't change the fact that Canon did not say the R5 would do something it couldn't. Though most of the 'limitations' are rather easily and cheaply negated by normal video gear anyway, but meanwhile tell me what it is you do need and tell me what other cameras can do that for well under $4,000.

      Where/when did Canon mention that after the overheat restriction took place, it would take from 2 hours to as much as 6 hours to cool down?
      I’ll answer... they didn’t. It’s not in any official statement and it’s not in the owners manual. That’s pretty significant oversight.
      I’m not giving them a pass. I’ll gladly return this camera if Canon failed to address these concerns very soon.
    14. S35 is the cinema standard, so a cinema camera with a standard cinema sized sensor is perfectly acceptable. Plus, the DGO sensor is a highly desirable feature, so I can’t see anyone complaining about getting that sensor in a much smaller body.
      I would normally say this camera is an instant buy, but after the mess that was the R5, and now with talk of “silent recalls”, as an R5 owner I’m left feeling like... Canon WFT?... Really?

      Why is the R5 a mess? What did I miss?
    15. I really can’t get over he amount of junk ads on this site, seriously annoying, has to be one of the worst sites that I visit. Seriously pathetic, especially on a phone where they jump your text as they load.
    16. S35 is the cinema standard, so a cinema camera with a standard cinema sized sensor is perfectly acceptable. Plus, the DGO sensor is a highly desirable feature, so I can’t see anyone complaining about getting that sensor in a much smaller body.
      I would normally say this camera is an instant buy, but after the mess that was the R5, and now with talk of “silent recalls”, as an R5 owner I’m left feeling like... Canon WFT?... Really?

      you’re an individual that complains about a prodimantly photo camera to meet your expectations of a 12-15k cinema camera actually meant to do video, SO GO BY THE CINEMA CAMERA Einstein!
    17. A native Canon Speedbooster on these RF Cinemas is really outstanding should that rumor bear out. You can shoot lenses with the S35 or get an effective 35mm FF image area with a huge library of EF glass.
    18. I’m not giving them a pass. I’ll gladly return this camera if Canon failed to address these concerns very soon.

      I didn’t ask you to give Canon a pass, I asked you specifically what is it in the R5 you need and what other cameras can you buy that do that for under $4,000.
    19. Then why have all the videonazi's been criticizing everything Canon make that relies on crop ff sensor video? I haven't heard a single photographer complain about it...
      Alexa and Red are also not the 'full frame' you mention

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