Close Menu

    New Canon Cinema EOS information rolling in [CR2]

    By Updated:26 Comments1 Min Read Canon Cinema EOS Rumors
    c500markiipng 728x462 - New Canon Cinema EOS information rolling in [CR2]

    The long-awaited Canon Cinema EOS C500 Mark II was finally announced in 2019, along with a new modular form factor.

    It looks like Canon will continue with the new form factor with at least 2 new Cinema EOS cameras in 2020.

    We have been told that Canon will introduce a body that will slot between the C300 and C500, could one guess a C400? The new cameras will use the same sort of design concepts as the Cinema EOS C500 Mark II and will be compatible with most, if not all of the accessories introduced with the latest Cinema EOS camera.

    As far as 8K goes, that will be addressed further in 2020. There will definitely be a Cinema EOS announcement at NAB in April of 2020.

    More to come…

    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.

    Go to discussion...

    Share.

    Related Posts

    26 comments

    1. My primary concern is whether any of the new models will allow the RF mount. I am guessing the RF mount would require a complete redesign of the camera body, but an RF mount in a new camera would make me wish I had waited on buying a C500 ii.
    3. I’ll take a full frame 4K raw camera over 8K anyway though. I shot and co-directed a feature in 8K RED raw (Helium sensor). It’s being released in a few theaters/VOD in a couple weeks after a very successful festival run.

      It was a nightmare, but I kept the movie in 8K raw all the way through the color correction to ensure that the final 4K master came from the best source (and I had the benefit of the raw in Resolve).

      But here’s the thing... nobody wants the 4K version. I’ve had to fight over retaining the 4K more than any single aspect in the whole production. My movie premiered at Tribeca Film Festival in 2K and I had to go back and forth for weeks to get a revised (title change) DCP in 4K to play at Fantastic Fest.

      I don’t believe any market overseas has utilized the 4K version provided.

      Preorder just went live on iTunes in US and it says “HD” so now I have to raise hell again. No one cares at the indie level. The pipeline is too expensive and the customers are indifferent.

      It was nice to have the ability to reframe with the 8K, but if I had to do it all again, I’d save myself a whole lot of trouble and arguments and shoot at 4K with any reframing to master at 2K. At least for the next year or two until distribution catches up. The 2K still looks great in a theater and I’d rather focus my energy elsewhere.

      PS: I didn’t actually want to shoot 8K raw, but the Helium crops like a bastard otherwise.
    4. I really don't understand why Canon creates so many different variants. Is there really a demand for so many slight variations? Like, in the CPU/ GPU market, I get the variants as they're usually a result of sensor yields being inconsistent.
    5. I really don't understand why Canon creates so many different variants. Is there really a demand for so many slight variations? Like, in the CPU/ GPU market, I get the variants as they're usually a result of sensor yields being inconsistent.
      supply and demand. make a lot of low tier for cheap, and a few top tier for more. give a little something for everyone. except sometimes canon will give the cheap one something the most expensive one does have. then you might need both for the complete package. I wish it was like cars. you get the decked out one with everything so their is no point in being envious of a cheaper camera model. guess there is less money in that
    8. But here’s the thing... nobody wants the 4K version. I’ve had to fight over retaining the 4K more than any single aspect in the whole production. My movie premiered at Tribeca Film Festival in 2K and I had to go back and forth for weeks to get a revised (title change) DCP in 4K to play at Fantastic Fest.
      But you know if you shoot it in 2k that will be the time that some one with some juice sees the movie, likes it and Netflix calls you up looking for the 4K version. But ya, editing in 8K with out proxies would not be a fun experience.
    9. My primary concern is whether any of the new models will allow the RF mount. I am guessing the RF mount would require a complete redesign of the camera body, but an RF mount in a new camera would make me wish I had waited on buying a C500 ii.
      Why would it require a redesign if they're utilizing the same form factor as the C500? If there are user changeable mounts, aren't we expeting an RF mount once those lenses become functional for cinema use?
    10. But you know if you shoot it in 2k that will be the time that some one with some juice sees the movie, likes it and Netflix calls you up looking for the 4K version. But ya, editing in 8K with out proxies would not be a fun experience.

      Please don’t start the 4K Netflix thing. This is one of the most misunderstood “requirements” in all of TV/Movie production. It ONLY matters if you are shooting a Netflix Original show(i.e: Stranger Things, Glow, etc.).

      I’m not saying that having a 4K master isn’t a good thing, but so many people are under the false impression that if they create something and it isn’t 4K then Netflix will not buy it, if they’re interested in it.
    11. Why would it require a redesign if they're utilizing the same form factor as the C500? If there are user changeable mounts, aren't we expeting an RF mount once those lenses become functional for cinema use?

      From what I've read, the nd mechanism makes an RF mount impossible on this body.
    13. Make my C100 4K and I’m happy. Crop sensor and all, just make something that competes with the Fs5 and I’m satisfied.

      Currently thats called a C200.

      Would love to see a C100 with a Red Komodo/Canon XC15 form factor.
    14. The C100 should be both full-frame and RF Mount.

      So far, they've introduced full-frame starting at the high end, moving down. But the low end is where both FF & RF Mount would work best, due to the high use of still-photo lenses.
    15. I’ll take a full frame 4K raw camera over 8K anyway though. I shot and co-directed a feature in 8K RED raw (Helium sensor). It’s being released in a few theaters/VOD in a couple weeks after a very successful festival run.

      It was a nightmare, but I kept the movie in 8K raw all the way through the color correction to ensure that the final 4K master came from the best source (and I had the benefit of the raw in Resolve).

      But here’s the thing... nobody wants the 4K version. I’ve had to fight over retaining the 4K more than any single aspect in the whole production. My movie premiered at Tribeca Film Festival in 2K and I had to go back and forth for weeks to get a revised (title change) DCP in 4K to play at Fantastic Fest.

      I don’t believe any market overseas has utilized the 4K version provided.

      Preorder just went live on iTunes in US and it says “HD” so now I have to raise hell again. No one cares at the indie level. The pipeline is too expensive and the customers are indifferent.

      It was nice to have the ability to reframe with the 8K, but if I had to do it all again, I’d save myself a whole lot of trouble and arguments and shoot at 4K with any reframing to master at 2K. At least for the next year or two until distribution catches up. The 2K still looks great in a theater and I’d rather focus my energy elsewhere.

      PS: I didn’t actually want to shoot 8K raw, but the Helium crops like a bastard otherwise.
      Quite often reality doesn’t match with people’s own expectations. In the Indie ‘stills camera’ video world, 1080p is still widely used, especially online with sites like YouTube. I have rarely gone to the cinema over the last few years and watched a blockbuster film in 4K - in fact I think only once when the film was labelled as a 4K showing. 4K isn’t common yet on streaming services like Netflix which is still mostly HD. I don’t really see the benefit of 4K when people are viewing in smaller screens like 32” TV’s or tablets even.

      The pipeline is too expensive and the customers are indifferent.
      That statement is spot on. Commenters demanding cameras have 5K or 6K yet the the film industry, never mind the social media video market, is still largely showing films in HD without any complaints from the audiences.
    16. It's strange that films are released at sub-4K resolutions. If I walk into a store that sells televisions, the vast majority of screens are 4K. Only the bargain basement models are 1080HD. I would have thought people would want 4K content for their 4K screens.
    17. The C100 should be both full-frame and RF Mount.

      So far, they've introduced full-frame starting at the high end, moving down. But the low end is where both FF & RF Mount would work best, due to the high use of still-photo lenses.
      Blackmagic have an interchangeable lens mount between EF, M43 and PL. I’m not talking about a lens adapter but removing and replacing the actual mount. I wonder if Canon could do something similar with an interchangeable EF and R (maybe PL too?) mount?
    18. It's strange that films are released at sub-4K resolutions. If I walk into a store that sells televisions, the vast majority of screens are 4K. Only the bargain basement models are 1080HD. I would have thought people would want 4K content for their 4K screens.
      The internet still doesn’t have the bandwidth to stream millions of 4K movies at a time and as people have largely moved away from physical media, we’re not going to see a huge move to 4K Blu-ray. Bear in mind, manufacturers like to sell products with spec’s to wow the buying public, even if they’re not fully useable.
    19. From what I've read, the nd mechanism makes an RF mount impossible on this body.

      I wonder what the hang-up is? There are real cameras with built-in ND with shallower mounts than RF, like the F55/5(FZ) and Fs7/II & Venice(E).

    Leave a comment

    Please log in to your forum account to comment