by Tim Fok | 4th January 2016
Now is a good time to pick up a Canon C100 Mark II. B&H has announced a $1000 saving on the updated entry-level EOS Cinema Camera. A similar but larger price drop has occurred with the original Canon C100 also where you can now pick it up for just $2,499. Here are the savings: Canon EOS C100 Body Only was $3999. Now $2499 Canon EOS C100 Body Only with Dual Pixel AF was $4499. Now $2999 Canon EOS C100 Mark II Body Only (Dual Pixel AF as standard) was $5499. Now $4499 I was naturally intrigued when I first picked this news up from No Film School; Canon usually reduces their cameras when making way for a new addition. With the quite frankly exhausting speed of Sonys advancements in new affordable camera releases, Canon is falling behind with their camera bodies from a spec list and cost perspective. It’s grown speculation as to whether we’ll see another EOS Cinema Camera appear this year that sits between the C100 and C300 cameras. This price drop maybe a little premature in assuming the path is making way for another new camera however; B&H are listing this as an Instant Savings deal, one that could well mean the price will hike back up to its original soon. Usually a permanent price drop looks less like a sale; I’ve checked other US resellers and they are presenting the price drop in a similar temporary deal-like fashion. Some consider Canon as a non-contender in the race to the best affordable large sensor camera. Their DSLR division has long abandoned any advancements in video technology for fear of harming the EOS Cinema Cameras, whilst the flagship line itself looks like a little light in terms of specification v cost. However one thing’s for sure, they are a true workhorse. Whilst under spec’d against competition they work straight out of the box (without a firmware or two to get the image working as to how it should). It seems that the price drop won’t stick around for too long, so now maybe the time to get a good deal. The same reductions are applying to packages including accessories and lenses, check out the full list here.Read more
by Tim Fok | 8th September 2015
Canon has swooped in with a host of new concept announcements. New developments include an 8K EOS Cinema Camera with lens, 8K reference display and monster 120 megapixel DSLR. The C300 Mark II announcement signified the end of the line for the C500, out performing the old flagship EOS Cinema camera in both features and price. There was talk that to maintain ranks its replacement would exceed 4K, it seems the talk is getting a little more serious. Canon has announced development of a new 8K EOS Cinema Camera that could potentially be the new C500. “The Cinema EOS System 8K camera being developed will be equipped with a Canon Super 35 mm-equivalent CMOS sensor that makes possible high-resolution 8,192 x 4,320 pixel (approximately 35.39 million effective pixels) imaging performance even at a frame rate of 60 frames per second with 13 stops1 of dynamic range and a richly expressive wide color gamut.” Canon also states reference to offering 8k to 4K as well as 8K acquisition on the developing camera, they’re EOS Cinema line has always used a downscale to yield desired image quality, it’s nice to hear this as a user option as well as native high resolution support. The 8K camera continues support of the EF lens mount. The huge lens collection is one of Canons big assets so it comes as no surprise that a new cinema camera will offer support as standard. I’d imagine they’d be a slight tweak as to offering a positive lock EF mount to support the vastly larger and heavier glass it will require in front of the sensor. Speaking of which, the new 8K developing camera has been unveiled along with the 7x 8K lens that surfaced as a concept lens last year. The mammoth lens will offer a 19.7 to 138mm range on super35mm at a constant f/2.8 aperture. Canon has also mentioned a new 8K display to accompany the camera (what’s the use in recording quad 4K if you can’t view it, right?) “Incorporating Canon image-processing technology, the ultra-high-resolution 8K reference display currently under development will achieve high brightness, high contrast (high dynamic range) and a wide color gamut. Additionally, with a pixel density exceeding 300 pixels per inch, a level approaching the limit of human visibility, the display will make possible ultra-realistic imaging that enables the reproduction of subtle changes in light that were previously not possible.” Lastly in Canon’s press release is announcement of a super high megapixel DSLR, resolving an incredible 120 megapixels. Whilst no official image is supplied of the camera we are presented with a placeholder graphic of a Canon 5D body, and assured that it will slot into the existing EOS series platform and EF lens line. “The high-resolution images that the camera will be capable of producing will recreate the three-dimensional texture, feel and presence of subjects, making them appear as if they are really before one’s eyes. The camera will facilitate a level of resolution that is more than sufficient for enlarged poster-sized printout while also enabling images to be cropped and trimmed without sacrificing image resolution and clarity”. Such high resolution in reality is hard to fathom right now, and there’s no word of exactly how far along any of these developments are. We’ve seen this behaviour from Canon before, some that turn out to be production line cameras (odd ball 4K DSLR that turned into the 1DC), and some that fall into the shadows from which they were conceived (that weird spherical one). The 8K Cinema Camera makes perfect sense in terms of Canons current line; it’s surely a matter of when over if. The second one I’m sure we’ll be waiting a while for at the very least, despite promises of continued native EF-lens support 120 megapixels will surely demand a completely new set of high resolutions lenses. via/ Canon GlobalRead more
by Tim Fok | 13th July 2015
Some tasty footage has emerged over the last couple of weeks from Canon Japan shot on the C300 mark II. [UPDATE] Check out our disappointing dynamic range test we did with the C300 mark II: Canon C300 Mark II Lab Test – Dynamic Range 2 Stops Less Than Expected The video below gives us a taste of what to expect from the 4K camera said to be effective up to 15 stops of dynamic range. Canons latest “EOS Cinema” announcement has certainly received some mixed reactions; on the one hand it looks like a fantastic upgrade from the original C300 and on the other way over-priced in comparison to the Sony FS7. Here’s 5 “hots” (upsides) and 5 “nots” (downsides) I’ve pulled out on the C300 Mark II. The Nots 1. Price Probably best get this one out of the way first. The body only C300 Mark II has been announced at the same price-point as the original C300, but this comes in at over twice the cost of a body only Sony FS7. You can even spec two FS7s with the ProRes extension units and only have change for a couple of cards for your Canon kit. 2. Slow Motion Crop Information is currently slightly ambiguous on this subject, but it seems there will be a crop applied on any framerate over 60p (up to 120fps). We’ve seen this sort of feature before on the Red Epic; having to switch your crop factor mid shoot that isn’t a creative decision is far from ideal. 3. 4K High Frame Rate Omission The maximum 120fps will only be available up to 2k, whilst 4K is limited to just 30p. Proper 4K 100+ fps is new price range territory so perhaps a little ambitious for a Canon announcement. But 4K 60p to match the Sony FS7 would’ve been nice. 4. New Battery Format The C300 Mark II is the first EOS Cinema Camcorder to migrate to a new battery format, doubling the required voltage. Whilst it isn’t a deal breaker little things like this can be a little frustrating for existing owners, particularly if the C500 can manage the popular BP-9 packs. 5. Form Factor There’s many aspects I love about the form factor of all EOS Cinema Cameras: They are great to hold in the hand and reduce down to a bare minimum very nicely. The C300 does get quite tall when rigged up however; there’s been no change with the Mark II in this regard. They have added some much need improvements to the handle; it’s great to see a solid mate with the body utilizing a new helmet. But the XLR/Screen module still adheres to a set of fiddly cold shoes, this was equally a weak point on the original design and could’ve been an easy fix. The Hots 1. Dual Pixel AF The C300 Mark II will have the most advanced auto focus system for a large sensor camera we’ve seen. Dual Pixel Auto Focus was fairly groundbreaking in the original EOS Cinema Cameras; it’s such a great asset to my C100 for using on gimbals. On the C300 Mark II, it advances past the need of a cheap STM lens to work outside of a little white square in the middle of the screen. 80% of the imaging area is now effective; whilst face tracking and manual assist are very valuable features that will really develop this camera into its own niche. Below is a video by Dan Chung of the Canon C300 Mark II auto-focus in action (check out the full article here) 2. Dynamic Range Canon now claims 15 stops dynamic range from the totally new image sensor, as well as a lower noise floor to provide a cleaner image. This is indeed 1 stop more than Sony claims on their FS7, but it’s not worth dwelling on this comparison right now as real world results can be vastly different to a spec sheet, especially when it comes down to dynamic range. The fact however that dynamic range is clearly a priority for the C300 Mark II is important. For me (and many will agree) dynamic range is paramount, it comes before resolution. [UPDATE]: Check out our dynamic range test: Canon C300 Mark II Lab Test – Dynamic Range 2 Stops Less Than Expected This comes with the announcement of C Log 2. The new profile will offer a flatter image than the original C Log. Original C Log is so easy to work both in-camera and post. Dynamic range is preserved and skin tones are very easy to maintain, it’s a great fuss free workflow and the new profile is aimed to improve compatibility with other formats. 3. Screen Real Estate Zacuto had it so right with the 4:3 screen on the Gratical utilizing a 16:9 PIP to allow un-obtrusive overlays. Whilst the C300 Mark II hasn’t gone quite that far, the screen looks much more tidy (reminiscent of RED) with overlays re-positioned to off the edge of frame in Perimeter Mode. This along with on improved screen and OLED viewfinder means on-camera monitoring is far improved. 4. ND Filters The C300 Mark II will feature dual ND wheels that when combined offer two additional levels of ND than the previous C300. As well as 2, 4 and 6 stops users will now have access to 8 and 10 stops ND. When shooting wide open in bright daylight you’ll easily exceed the maximum 6 stops (taking into consideration native ISO, normal speed with a 180 degree shutter). It would’ve been nice to squeeze out 3 and 5 stops also for fine-tuning your exposure, but we’ll take the extra 2 features as they are. 5. Improved Proprietary cables Much like the original C300, the C300 Mark II has a removable module for the screen and audio. The older system used hard-wired proprietary cables. These were problematic as it meant a breakage would require the whole unit to be sent to Canon for repair, and longer cables for complex rig configurations would also require your module to go in for a service. The new cables (still proprietary) are now detachable from each side meaning storing the camera is safer therefore less likely to break. It also means if they do break then it’s only a cable you have to send back, not the whole module. Additionally each cable serves one purpose (one is audio, one video) and are swappable so if one goes down you can prioritize peripherals. Lastly Canon will offer a longer pair of cables additionally for users requiring more length for complex rigs. I must admit as a user looking to upgrade to a 4K camera this year, the C300 Mark II has me turning my head. I could’ve easily doubled the number of Upsides (Hots); near C100 spec proxy recording to SD card, waveform in viewfinder, much improved handle, Manual Focus Assist to name a few. The price difference between the Sony FS7 is huge, there’s no two ways about it and this fact alone will write off the C300 Mark II for many. Canon will argue that the price has remained the same yet offering so much more in features, but the market has changed drastically since the original C300 some 4 years ago. I almost feel a C200 is in order to compete with the price of the Sony FS7; up to 2K 120p internal with all 4K via SDI output and no raw. I do think the Dual Pixel Auto Focus will be a huge selling point, this alone will be worth it to many gimbal operators. Image quality in relation to dynamic range and skin tones is another huge factor also, in this regard it’s perhaps more fair to compare the Canon up against the Sony F5 and F55; competitors where the price is much more palpable.Read more
by Tim Fok | 25th February 2014
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