Canon today announced the EOS R5 and the EOS R6, two full-frame mirrorless cameras with RF Mount. The Canon EOS R5 delivers 45-megapixel stills and is the first full-frame mirrorless ever to internally record 8K RAW video up to 29.97fps and 4K at up to 120fps in 10-bit. Canon EOS R6 offers 20.1-megapixel stills, 4K video up to 60p 10-bit, or Full HD at up to 120fps. Canon EOS R5 and EOS R6 Cameras. Image credit: cinema5D When we look at Canon’s camera lineup from recent years, it is no doubt that the company introduced some exciting and innovative EOS cinema cameras (like the C500 Mark II or C300 Mark III) and DSLRs (like the 1D X Mark III), but in the mirrorless cameras segment, Canon has been slightly falling behind its competition. Although the EOS R found its way into numerous filmmakers’ kits, many were not satisfied with some of its fallbacks – like the heavily cropped 4K mode and the lack of 10-bit 4:2:2 or higher internal recording mode. With today’s announcement, it seems that Canon has finally made it and offers us, filmmakers, a very interesting mirrorless camera to work with. Let’s take a look at both new models, Canon EOS R5 and EOS R6, starting by what both bodies have in common. New Generation EOS R Cameras Both cameras feature full-frame CMOS sensors (although with different resolutions – more on this later) and Canon RF Mount. There is a DIGIC X processor at the core of EOS R5 and EOS R6 – the same processor used in the EOS-1D X Mark III. Although we will focus on video capabilities, let’s get some photography features out of the way first. Canon EOS R5 Camera Set with RF Lenses. Image credit: Canon Both EOS R5 and EOS R6 can shoot photos at up to 20fps with the electronic shutter with full auto exposure (AE) and autofocus (AF) tracking or up to 12fps with the mechanical and electronic first curtain shutter. Stabilization Both cameras feature new 5-axis In-Body Image Stabilisation (IBIS) which comes in very handy for handheld shooting and low shutter speeds. Canon claims their IBIS is the world’s best image stabilization among all interchangeable-lens digital cameras. From their testing, it can compensate up to 8.0 stops. The IBIS has been designed to work collaboratively with the IS system of RF and EF lenses to further enhance the stabilization, but it will, of course, stabilize non-stabilized lenses and vintage lenses as well. Autofocus We all know Canon’s great Dual Pixel autofocus system. Both new cameras support the next generation Dual Pixel CMOS AF II which, according to Canon, further improves the focus speed and reliability. The autofocus should also work better in low light – the EOS R5 can focus in light levels as low as -6EV and EOS R6 even as low as -6.5EV (both tested for still photo shooting). Canon EOS R5 Camera with Lens. Image credit: Canon The autofocus can also track objects. The iTR AF X AF system ensures subjects are kept sharp even when moving unpredictably with a shallow depth of field. Even if a person turns away for a moment, their head continues to be tracked. It recognizes faces and eyes of humans, and now includes cats, dogs, and birds in both still and movie modes. Connectivity The cameras offer built-in Bluetooth and Wi-Fi. Both EOS R5 (5Ghz Wi-Fi) and EOS R6 (2.4Ghz Wi-Fi) can be connected to a smartphone and networks allowing high-speed file sharing and FTP/FTPS transfer. They can also be remotely controlled using the Camera Connect and EOS Utility apps, tethered to a PC or Mac via Wi-Fi or high-speed USB 3.1 Gen 2. Canon EOS R5 – Internal 8K RAW Video The EOS R5 incorporates a 45-megapixel sensor with 100% AF coverage with 5,940 selectable AF points and an ISO range of 100 – 51,200. The camera has two card slots – one CFexpress and one SD UHS-II slot – housed in a weather-resistant magnesium body. The EOS R5 body only weighs 650g (738g with battery/ memory card). Canon EOS R5 Camera. Image credit: cinema5D Now it gets interesting – internal recording modes (with full AF performance including continuous eye and face AF tracking): 8K (8192 x 4320) video recording up to 29.97fps (non-cropped) in 12-bit RAW, or in 4:2:2 10-bit Canon Log (H.265), or 4:2:2 10-bit HDR PQ (H.265) 4K (DCI or UHD) video recording up to 119.88fps (non-cropped) in 4:2:2 10-bit Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265) There is also a so-called 4K HQ mode available up to 30p. It internally oversamples 8K footage to 4K resolution to offer better detail than ordinary 4K mode. The EOS R5 can also output 4:2:2 10-bit in Canon Log or 4:2:2 10-bit HDR PQ video signal via HDMI at 4K 59.94fps. Canon EOS R5 Camera – 8K recording modes. Image credit: cinema5D There is currently no info on whether the 4K recording mode will also be available in RAW. We also don’t know available framerates for FHD as well as bitrates for each recording mode. We will of course update the article as the info gets available. Canon EOS R6 – Larger Pixels The second announced body, EOS R6 features 20.1-megapixel full-frame sensor with up to 6,072 selectable AF points. Because the sensor has much larger pixels, it offers ISO between 100 – 102,400. I expect better low light performance than the EOS R5, but it will, of course, need to be tested. The EOS R6 can film in 4K UHD resolution internally at up to 59.94fps in either 8-bit H.264 or 10-bit YCbCr 4:2:2 H.265 with Canon Log. This is achieved through oversampling from 5.1K (uncropped). Canon EOS R6 Camera – recording modes. Image credit: cinema5D In Full HD, the camera can record slow-motion footage at up to 119.88fps with AF. The 0.5” EVF has a slightly lower resolution than the one in R5 – 3.69 million dot EVF working up to 120fps maximum refresh rate. The flip-out screen is slightly smaller with 3” and offers 1.62 million dot resolution. Canon EOS R6 Camera. Image credit: cinema5D There are two card slots as well, but they are both SD UHS-II slots. They support simultaneous recording, with the ability to record in different formats for safety, security, and speed. The EOS R6 body only weighs 598g (690g with battery/ memory card) and is therefore slightly lighter than the EOS R5. New Battery Pack and Battery Grip Canon also announced a new type of battery pack – LP-E6NH. It offers the same form factor as the LP-E6 or LP-E6N, but there is a 14% more capacity with 2130mAh. The new BG-R10 battery grip is available for both EOS R5 and R6. It can hold two batteries (LP-E6/N/NH) and also offers duplicate controls for easier vertical shooting. Last but not least, the WFT-R10 is a battery grip style Wi-Fi transmitter with 2×2 MIMO antennas for faster and longer-range transmission – compatible with EOS R5. WFT-R10 also features enhanced network processing enabling SFTP via Wi-Fi and includes a gigabyte speed via the ethernet port. Price and Availability Both new cameras are available for pre-order. Price has been set to $3,899 (around €3,900 in Europe) for the Canon EOS R5 and to $2,499 (around €2,330 in Europe) for the more affordable EOS R6. Shipping should start soon. What do you think about Canon’s new cameras? Do you think you will utilize 8K RAW video? Which body looks more appealing to you? Is there something you miss in these cameras? Let us know in the comments underneath the article.

This year, Atomos is celebrating the 10th anniversary of the company and, as you know from our site, they released a number of special offers already. This time, the Atomos Ninja V monitor/recorder can be purchased on B&H with an almost $200 discount for $499 only. But just today. Buy link: Atomos Ninja V Was: $695.00  Now: $499.00 (Savings: $196.00) Watch out – This deal expires tonight, June 30th, at 11:59 PM EDT! Ninja V Special Offer. Source: Atomos Earlier today, we published the news about FUJIFILM GFX100 getting a firmware update to support RAW output over HDMI. This RAW signal (up to 4K) can be then recorded by Atomos Ninja V in ProRes RAW. To celebrate this news, Atomos significantly reduced the price of Ninja V for today only. Atomos Ninja V Monitor/Recorder The Atomos Ninja V features a 5″ 1920 x 1080 touchscreen display with 10-bit color depth and 1000 nits brightness which makes it usable in most shooting scenarios even outside, to a degree. The monitor/recorder features 4K full-size HDMI input and output. Perhaps the most exciting thing and the reason why the Ninja V is being talked about lately are the upcoming 4K 12-bit ProRes RAW updates for various cameras. Atomos will equip Ninja V with the ability to record 4K RAW video signal from HDMI input and save it as 12-bit ProRes RAW. Many camera manufacturers already announced they will support RAW video output via HDMI in their products. Currently, the support list includes the following cameras: FUJIFILM GFX (our article here) Nikon Z 6 and Z 7 (our article here) Panasonic LUMIX S1H (our article here) SIGMA fp (our article here) Z CAM E2 and E2 M4 (our article here) The special offer is a very interesting one this time. Only today, Ninja V is available for $499 on B&H: Buy link: Atomos Ninja V Was: $695.00  Now: $499.00 (Savings: $196.00) Watch out – This deal expires tonight, June 30th, at 11:59 PM EDT! Even though the update for the Ninja V has not been released yet, this small recorder is a capable device now already. It can still record 10-bit ProRes 4:2:2 in up to 4K 60fps. Do you use Ninja V? How do you like it? What do you think of this special offer? Let us know in the comment section underneath the article.

Up until today, Canon 1D X Mark III .crm RAW Files were only natively supported by Blackmagic DaVinci Resolve 16 (latest version) and Final Cut Pro X. If you are like me, an Adobe Premiere editor who needed to work on some Canon 1D X Mark III RAW footage, well, you were out of luck – until today! Adobe Premiere Creative Cloud update – June 16th 2020 Kind of under the radar, this morning, my Creative Cloud account notified me that there is a new update featuring “New Canon and RED camera format support”. As someone who’s just finished editing Canon 1D X Mark III RAW material and had to convert it in DaVinci Resolve 16 to ProRes 4444 in order to finalize it (I’m still not fast enough with editing directly in Resolve), my curiosity made me download and update Premiere Pro CC. And there you go, Adobe Premiere CC now supports .crm RAW files natively! I can only assume that this move from Adobe is also preparing the NLE for the upcoming Canon EOS R5 as that camera will record RAW internally like the EOS 1D X Mark III can do. Those 5.5K RAW files coming out of the 1D X Mark III are simply incredible, but it is also important to note that those .crm files are very hard to process even on very modern computers. At least for those who are working inside the Adobe environment, it is good to know that those files are supported natively and can be adjusted if needed. (Color Temperature, Tint and Exposure). Adobe Premiere CC timeline Natively supporting .crm RAW files crm RAW controls inside Adobe Premiere CC Speaking about the ID X Mark III, in case you are interested in learning a bit more about the video capabilities of this camera, please head to our review by clicking here. Adobe Premiere CC Do you happen to have the Canon 1D X Mark III and were limited in editing RAW footage inside Adobe Premiere CC? If yes, please share your joy with us now that those files are supported. 

With this delayed firmware update, Atomos and Panasonic have pushed back the expected release date for a much-anticipated feature. However, fear not – many other features are still running on schedule. Read on for more! Panasonic S1H and Atomos Ninja V. Image source: Panasonic What Caused the Delay? Last month, Panasonic announced that one long-teased feature – 5.9k RAW video over HDMI – would be coming on May 25th. The feature was to be paired with the Atomos Ninja V, a mid-sized monitor/recorder retailing for $500. Today, they have jointly announced that this project has been delayed. Panasonic had initially intended for this feature to headline the release of firmware version 2.0 for the the flagship S1H, and when it was announced it certainly created a lot of buzz. You can read our previous coverage for more information if you already are an owner, plan to purchase or rent, or just like to drool. However, “due to technical issues yet to be resolved” that were discovered during beta testing, RAW recording is on hold, temporarily. A new release date has not been set, but the rest of the non-delayed firmware version 2.0 will still be released on schedule. Atomos has said that it will follow Panasonic’s lead and honor their development timeline. Panasonic S1H (Image  credit: cinema5D) What’s Still In Firmware V2.0 As a reminder, here are a few other features you can still expect if you update on the 25th: Downconverted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available. In Creative Video mode, it is possible to disable the operation of starting/stopping video recording by pressing a shutter button. In Creative Video mode, it is possible to set [Rec Quality(My List)] from the control panel. The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1]. It suppress afterimages previously occurred in some situations. It is possible to prevent the enlarged view window of MF Assist to be output over HDMI. There were cases where color banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimized. There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed. Conclusion: That’s What Beta Testing Is For While this might be disappointing, I find it reassuring that Panasonic and Atomos are paying attention to the results of their beta tests and working actively to patch them. I would personally rather have a working, polished implementation next month than run the risk of bricking my camera or losing footage over a bug that could have been fixed. Delayed firmware updates aren’t good news on their own, but bugs happen and this shows that Panasonic and Atomos are willing to act responsibly and respectfully. Good move, Panasonic and Atomos! Has the delay put a kink in your plans to record some 6K RAW? What other features do you still want to see in the future? Let us know in the comments!

One of Canon’s most popular cinema cameras, the Canon EOS C300 Mark II, just got an additional $500 price drop. The camera body including the Touch Focus Kit (the 4″ LCD touchscreen monitor) now sells for only $7,499. You only need to add CFast 2.0 media and an EF lens and you have a ready-to-shoot setup. Canon EOS C300 Mark II got an additional $500 price drop. Image credit: cinema5D B&H Buy link: Canon EOS C300 Mark II Body with Touch Focus Kit Was: $8,999.00  Now: $7,499.00 (Savings: $1,500.00) CVP Buy link: Canon EOS C300 Mark II Body with Touch Focus Kit €6,740.40 The Canon EOS C300 Mark II was announced five years ago in April 2015. The price of the camera was set to $15,999. Throughout the years it has become very popular for many productions for a documentary, corporate, and other types of work. As new EOS C models kept coming out, Canon kept dropping the price of the camera. In case you forgot, here is a list of the C300 Mark II key specs. I think this Super 35 camera does not have to be ashamed even today, in 2020. 10-bit 4:2:2 in 4K recording (UHD 3840 x 2160 & DCI cinematic (4096 x 2160 pixels) up to 410Mbps (in 4K) 10/12-bit 4:4:4 in 2K & Full HD up to 30p in 4K, 120p in 2K/Full HD 4K RAW files to an external recorder dual DIGIC DV5 processors dual CFast 2.0 slots 15 stops of dynamic range with Canon Log2 Dual Pixel CMOS AF New XF-AVC Intra, Long GOP and Proxy H.265 codecs in 4K, UHD, 2K and 1080p 4-channel audio in 16 or 24 bit and 48 kHz sensor-read out 2x faster than C300, less rolling shutter After Canon announced the new EOS C300 Mark III two weeks ago, it was clear that its predecessor – the C300 Mark II – would get a price drop. At the time of the C300 Mark III announcement, the camera was selling for $8,999. After the announcement, its price dropped $1,000, selling for $7,999. Now, two weeks later, its price dropped further to $7,499. Canon EOS C300 Mark II got an additional $500 price drop. Image credit: cinema5D I think this additional $500 price drop might only be a time-limited offer, although B&H does not state that on their website. For filmmakers based in Europe, our partner CVP currently lists the C300 Mark II at €6,740 (without VAT) which is a very nice price as well. B&H Buy link: Canon EOS C300 Mark II Body with Touch Focus Kit Was: $8,999.00  Now: $7,499.00 (Savings: $1,500.00) CVP Buy link: Canon EOS C300 Mark II Body with Touch Focus Kit €6,740.40 While this might not be such good news for current C300 Mark II owners wanting to sell their old camera, it is definitely good news for those who are considering investing in the camera. This move also could have been anticipated after the newer model came out. I think the C300 Mark II still is a very valid camera in 2020, despite the new C300 Mark III having a lot of great additional features like Cinema RAW Light, for example. Many companies still use the camera in their productions and the current $3,500 price difference between Mark II and Mark III is not to be overlooked. What do you think about the additional price drop on the Canon EOS C300 Mark II? Would you still invest in this camera in 2020 or go for the new C300 Mark III? Let us know in the comments below the article.

Hot on the heels of yesterday’s Sony FX9 Firmware Update news, Atomos announced that its Shogun 7 recorder will be compatible with the camera’s RAW output. The Atomos Shogun 7 will be able to record Apple ProRes RAW images at up to DCI 4Kp60, or in 2K up to DCI 2Kp180 continuous from the FX9 and XDCA-FX9 Extension Unit through SDI. Atomos Shogun 7 with Sony FX9 will record ProRew RAW. Source: Atomos Atomos is most likely the largest propagator of Apple’s ProRes RAW codec (next to Apple itself). They have been pushing the boundaries with HDMI ProRes RAW recording lately with the Panasonic S1H and Nikon Z 6/Z 7 mirrorless cameras and its compact Ninja V recorder. With SDI connection, ProRes RAW recording is nothing new. Atomos Shogun Inferno has been able to do it with a variety of cameras for years – with some cameras even in resolutions way above 4K. Yes, I am talking about the Panasonic EVA1, as an example, where ProRes RAW has been available to record up to 5.7K 30fps with the Shogun Inferno since June 2018. Sony, of course, currently offers RAW output over SDI with its other cameras, like the FS7 and FS7 II (with the XDCA-FS7 expansion pack) and with the FS5 (with the optional paid CBKZ-FS5RIF license) and FS5 II. The Shogun 7 is able to record ProRes RAW from all these cameras. Atomos Shogun 7 with Sony FX9 – ProRes RAW Capture Shogun 7 is Atomos’ latest 7-inch HDR monitor, recorder, and switcher. With its 1920×1080 HDR 3000nit screen it can deliver HDR and SDR monitoring. It records to AtomX SSDmini or other approved SATA SSD drives in various flavors of ProRes and other professional codecs. Shogun 7. Image credit: Atomos Sony PXW-FX9 is a relatively new full-frame cinema camera (announced at fall 2019). It will be available to output 16-bit RAW video signal, but there are two things to consider: The RAW output will only be possible with the XDCA-FX9 Extension Unit that costs around $2,500 and adds bulk and weight to the whole setup. It has other advantages like the added ability to use V-Mounts though. The RAW output will only be available after the Version 2.0 firmware update for the FX9 which is free of charge, but it will come in October 2020. With today’s announcement, Atomos is saying that its Shogun 7 recorder will get a free AtomOS firmware update to allow FX9 RAW recording as soon as the firmware Version 2.0 for the FX9 is out in October 2020. The Atomos Shogun 7 will record Apple ProRes RAW images at up to DCI 4Kp60, or in 2K up to DCI 2Kp180 continuous from the FX9 and XDCA-FX9 Extension Unit. Sony PWX-FX9 Body Each frame recorded in ProRes RAW will have metadata supplied by the FX9. Apple’s Final Cut Pro X and other NLEs will automatically recognize ProRes RAW files recorded by the Shogun 7 from the FX9’s RAW output and set them up for editing and display in either SDR or HDR projects automatically. Additional information will also allow other software to perform extensive parameter adjustments. ProRes RAW Compatibility The advantage of ProRes RAW is a good compromise between huge uncompressed RAW files and traditional ProRes codecs. According to Apple and Atomos, it combines the flexibility of RAW video with the real-time performance of ProRes. The format gives filmmakers increased latitude when adjusting the look and extending brightness and shadow detail. Naturally, compatibility with NLEs is an important factor for any codec. With Apple’s ProRes RAW this is still not an easy situation. The ProRes RAW format is currently fully supported in Final Cut Pro X along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight, and Grass Valley Edius. If you, like me, happen to be a PC user editing in DaVinci Resolve, this might not be the most exciting news. There is no news about planned ProRes RAW support for Resolve yet. The “RAW wars” between ProRes RAW and Blackmagic RAW are not great for working professionals as right now, it’s quite hard to combine the two formats. The good news is, that according to Atomos, Adobe Premiere Pro and Avid Media Composer are set to support ProRes RAW in 2020. We will inform you as soon as that officially happens. So far, Apple has released a beta version of ProRes RAW for Windows. What do you think of the Atomos announcement? Are you considering to use the FX9 along with the Shogun 7 to capture ProRes RAW? How do you like ProRes RAW as a format so far? Let us know in the comments underneath the article.

Canon today announced a new cinema camera with APS-C (Super35) sensor – the EOS C300 Mark III. Along with the camera, they also announced a new 25-250mm CINE-SERVO lens and some firmware updates, which we covered in a separate article – available here. The EOS C300 Mark III features a new 4K CMOS DGO (Dual Gain Output) sensor, modular design and the ability to record in multiple formats up to 4K 120fps in Cinema RAW Light. Canon EOS C300 Mark III. Image credit: cinema5D The new EOS C300 Mark III is Canon’s new flagship in the Super35 line-up. Before talking about the new camera, I would like to give you a little overview of Canon’s EOS Cinema line. Canon EOS Cinema Cameras Line While many filmmakers were bashing video capabilities of Canon’s DSLR and mirrorless line-up in recent years, there was not much to complain about its EOS C line of cameras. I think this is where Canon remains fairly strong. At the moment, they offer the entry-level 1080p APS-C Canon EOS C100 Mark II, 4K-capable APS-C Canon EOS C200 (announced in 2017), and their (till today) best APS-C 4K-capable camera – the EOS C300 Mark II. When it comes to full-frame sensors, Canon offers their largest camera aimed at fully staffed camera departments – the EOS C700 – and the new EOS C500 Mark II. When Canon announced the full-frame EOS C500 Mark II last year, specs-wise it kind of looked like a C700 in a much smaller body, better suited for single camera operators, and with a much friendlier price tag. To refresh your memory about the camera, make sure to check our C500 Mark II coverage: Canon C500 Mark II First Look – 6K, Full Frame, Cinema RAW Light, Modular Concept Canon C500 Mark II Low-Light Test & 6K Raw Clip to Download Canon C500 Mark II Lab Test: Dynamic Range, Latitude and Rolling Shutter Canon C300 Mark II was announced in April 2015. At the time of its announcement, five years ago, Canon was asking $15.990 for the camera. Over the years, it got very popular, especially among documentary filmmakers. Many would say the camera became kind of an industry standard for 4K film productions (next to the Sony FS7). Five years is a relatively long time in the camera world, but the EOS C300 Mark II is still being used widely in the industry in 2020. The camera received a few price drops as well – today, a new C300 Mark II sells for $8.999. This price might now even drop a bit more after today’s announcement. Let’s take a look at the new EOS C300 Mark III and its features and specs. Canon EOS C300 Mark III The Canon EOS C300 Mark III incorporates a newly developed APS-C (Super35) DGO sensor that should offer very clean low light picture quality as well as good HDR acquisition capabilities. DGO means “Dual Gain Output” and it is Canon’s new technology used in the sensor to increase its dynamic range. Canon EOS C300 Mark III. Image credit: cinema5D New Dual Gain Output (DGO) Sensor Each pixel on the sensor is read out with two different amplification levels – one high and one low – which is then combined to make a single image. The higher amplification readout is optimized to capture clean details in darker areas, while the lower amplification readout is optimized to capture details in brighter areas. When combined, at pixel-level accuracy, the details and the qualities on the highlight and low light areas of the image are maintained and enhanced. According to Canon, the new sensor should be able to achieve 16+ stops of dynamic range. We will, of course, test this in our lab. The DGO technology works at every ISO level and it should help in reducing the noise in higher ISO values and improve therefore the camera’s lowlight capability. It works, however, only up to 60fps – there is no DGO for higher framerates. Autofocus The good news is that the DGO sensor is also compatible with Canon’s Dual Pixel CMOS Autofocus, which is so popular among filmmakers for its reliability. The Dual Pixel AF works in every framerate, every resolution, and regardless of used codec. The only limitation is when a lens is stopped down to around f/13 – then the Dual Pixel AF does not have enough contrast to work reliably. Canon EOS C300 Mark III. Image credit: cinema5D Canon introduced the new way of autofocus with the C500 Mark II, where the autofocus emulates the way how focus puller would work. The autofocus starts refocusing quickly and then slow it down before the focus is achieved. This is now also included in the C300 Mark III. The camera also offers the Dual Pixel Manual Focus Guide that can tell users which way to turn the lens. This also works for instance with the Canon Cine Prime lenses. Up to 4K 120fps in Cinema RAW Light The EOS C300 Mark III is capable to internally record 4K Cinema RAW Light in up to 120fps. Known from the EOS C200, RAW Light is Canon’s format offering the benefits of a RAW file in smaller file size. In addition to this, the EOS C300 Mark III can record internally in Canon XF-AVC at 4K DCI and UHD at 4:2:2 10-bit, as well as 2K and Full HD. Canon EOS C300 Mark III. Image credit: cinema5D For non-RAW recording in XF-AVC, users can select ALL-I or Long GOP to film with high compression for efficient workflow and longer recording times. When recording 2K or Full HD in Super 35mm, footage boasts the 4K sensor’s full capabilities. This recording is downsampled internally to record the footage at the resolution selected by the user – no cropping of the sensor. In 2K with Super 16mm crop, the framerate can g up to 180fps. Internal Recording Options: 4K Cinema RAW Light 10-bit or 12-bit 2K RAW recording in Super 16mm Crop, 10-bit or 12-bit, up to 180fps XF-AVC (MXF) recording, 4:2:2 10-bit ALL-I or LongGOP Up to 120P 4K RAW or XF-AVC recording, up to 180P in Super 16mm crop 2K/FHD. In terms of memory card support, the camera has two CFexpress slots and one SDXC slot. The two CFexpress slots can function for simultaneous recording of two RAW Light or XF-AVC streams or for relay recording. Additionally, for both RAW and XF-AVC, the camera can simultaneously record proxy files to an SD card. Canon EOS C300 Mark III. Image credit: cinema5D Same as with the EOS C500 Mark II, there is a 5-axis electronic stabilization system. With EF lenses that provide EXIF data, the system can automatically recognize the focal length and setup the e-stabilization. With PL lenses, the focal length has to be entered manually so that the e-stabilization works well. The EOS C300 Mark III features a configurable design – similar to that of the EOS C500 Mark II. There are two different optional Expansion Units for the camera (EU-V1 and EU-V2). They both fit on the C500 Mark II as well and they add extra connection terminals to the camera body and expand the camera’s compatibility with various styles of shooting. Additionally, the lens mount can be changed between EF, PL and EF Cinema Lock mounts without the need to send the camera to an Authorised Service Centre. That certainly provides additional flexibility.   Canon EOS C300 Mark III – Key Specs New Super 35mm 4K CMOS DGO (Dual Gain Output) sensor 16+ stops of dynamic range Native ISO is 800 User changeable lens mount (EF, PL or EF Cinema Lock) Flexible, modular design with optional expansion modules and EVF Price and Availability Canon EOS C300 Mark III will be available approximately by the end of June 2020. The price for the body-only has been set to around $10,000/€10.000 (without VAT), which is significantly less than the starting price of the C300 Mark II five years ago. Are you using Canon EOS C300 Mark II for your work? What do you think of its successor? Did you expect the camera to have these features? Let us know in the comments underneath the article.

OCTOPUS CAMERA, a prototype open platform upgradable cinema camera developed by a UK-based company OCTOPUS CINEMA, should support a range of image sensor modules (with various sensor sizes) from third-party sensor module manufacturers. The company published an update assuring that the work on the camera is active and they posted two videos showing the current progress of the OCTOPUS CAMERA – colour sensor model sample footage and digital USB audio capture. OCTOPUS CAMERA update. Source: OCTOPUS CINEMA The OCTOPUS CAMERA is a prototype cinema camera developed by a UK-based company OCTOPUS CINEMA, designed as an open platform with removable and upgradable parts. The camera should not be tied to a single image sensor but it should support a range of image sensor modules (with various sensor sizes and both monochrome and colour versions) from third-party sensor module manufacturers. To refresh your memory about this camera, you can read my article from June 2019 (OCTOPUS CAMERA – Cinema Camera Prototype with Upgradable Parts). The OCTOPUS CINEMA team recently published an update about the camera. They are assuring that the development is still active even despite the current situation around the COVID-19 pandemic. They claim that a large majority of the development is software engineering which is done free of any central location. The company also published two videos showing the current progress of the OCTOPUS CAMERA – colour sensor model sample footage and digital USB audio capture. Colour Sensor Model It seems that the OCTOPUS CINEMA team is focusing on the development of the version of the camera with a colour sensor. They uploaded a short clip with a prototype graded footage from the colour sensor model. The sample clip has been shot with an OCTOPUS CAMERA 4K prototype model with a Micro Four Thirds image sensor at ISO800. The camera saved the footage as a losslessly compressed 12-bit 4K RAW in CinemaDNG format internally to a CFast2.0 memory card. The lens used was the SIGMA 18-35mm f/1.8 mounted via a Canon EF to Micro Four Thirds focal reducer. There is no information about which exact focal reducer was used. A Metabones Speedbooster Ultra would make sense to me. As OCTOPUS CINEMA team states, the remaining work includes the colour implementation of 10-bit HEVC encoding and CineForm compressed Bayer RAW. Digital USB Audio Next update is about the digital USB audio capture. According to OCTOPUS CINEMA, the OCTOPUS CAMERA is now capable of capturing digital audio from any standard USB audio device at sample rates up to 192kHz/32-bit. Multiple tracks from multiple audio sources can be simultaneously muxed into RAW or compressed video recordings. This allows for USB microphones such as the RODE VideoMic NTG, or dedicated field recorders with USB to be used as digital input sources. Price and Availability At the moment, there is no word about the availability and the price of the OCTOPUS CAMERA yet. Last year, the company stated that the camera will be available in summer of 2020. It remains to be seen if the current situation around COVID-19 pandemic affects this timescale in any way. What do you think of the OCTOPUS CAMERA so far? Have you been following its development? Let us know in the comments below the article.